Relevant bibliographies by topics / Male dramatists

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Academic literature on the topic 'Male dramatists'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 March 2023

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Journal articles on the topic "Male dramatists"

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McDonald, Jan. "New Women in the New Drama." New Theatre Quarterly 6, no. 21 (February 1990): 31–42. http://dx.doi.org/10.1017/s0266464x0000395x.

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While considerable attention has been paid in recent years to the work of women dramatists during the wave of proto-feminist activity in the early years of the present century, the way in which women characters – whether created by male or female writers – were presented has been less adequately investigated. Here, Jan McDonald, Head of the Department of Theatre, Film, and Television Studies in the University of Glasgow, explores the work of well-known and largely-forgotten playwrights alike, discussing the ways in which the ‘new drama’ – the subject of Jan McDonald's recent book for the ‘Macmillan Modern Dramatists’ series – reflected the concerns of the ‘new woman’.
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Monaco, Patrizia. "DRAMMATURGHI SI NACE O SI DIVENTA?" Revista Internacional de Culturas y Literaturas 19, no. 19 (2016): 249–59. http://dx.doi.org/10.12795/ricl.2016.i19.21.

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Radam, Assist Inst Halima Ismail. "Feminism in Heneric Ibsen’s A Dolls' House." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 221, no. 1 (November 6, 2018): 149–62. http://dx.doi.org/10.36473/ujhss.v221i1.420.

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This paper investigates the role of women and their right in Henrik Ibsen's A Doll's House (1879). Ibsen, one of the world's greatest dramatists, is considered as the father of modern drama, and as one of the great supporters of women. He never calls himself a feminist, and he is more a humanist. There are indeed plenty of feminist tendencies in his plays, based on Simone de Beauvoir’s System of marriage, stressing on individuality of women and fighting for their freedom, in addition protesting to all restrictions in society. Under the impact of Ibsen's ideology, individuality and humanity are the most important social issues which are developed in his works. All social instructions and conventions are the enemy of every individual because they restrict the characters' personal identity and their freedom. In particular, Ibsen expands this outlook on the women's position whose individual and freedom are taken by masculine society . Ibsen protests against the position of women in a masculine society which is unfair and under the hegemony of male – dominated powers.
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Gupta, Kanchana, and Mrinal Srivastava. "A Comparative Study of Vijay Tendulkar’s Kamala and Henrik Ibsen’s A Doll’s House." IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 4, no. 3 (October 3, 2016): 397. http://dx.doi.org/10.21013/jems.v4.n3.p6.

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<p><em> Vijay Tendulkar is hailed as one of the most influential dramatists in India since the last forty years. He is a prolific playwright with twenty-eight full length plays, twenty-four one–act plays, seventeen film scripts, eleven children plays and a novel in Marathi language to his credit. Many of his plays have been translated into English and other Indian languages. One of his plays Kamala published in 1981 was originally written in Marathi. It was later translated by Priya Adarkar. The play exposes the hypocritical attitude of the society towards women. It draws attention towards issues like the flesh market, the condition of typical Indian women (as portrayal through the characters of Sarita and Kamala), the unsolved discord in the marital lives of Indian couples etc. It also brings to our mind Henrik Ibsen’s play A Doll’s House which was published in 1879. The similarities in both these modern plays are beleaguered by their male characters and lucid imagery but the virtuous female characters here undergo unrelenting anguish. Both present a story of abent husbands who want a wife to behave just like puppet irrespective of whether she is literate or illiterate. </em></p>
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Lowe, N. J. "V Plautus." New Surveys in the Classics 37 (2007): 97–114. http://dx.doi.org/10.1017/s0017383508000478.

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If Plautus had a real name, it seems never to have been known or inquired after. ‘Titus Maccius Plautus’ means something like ‘Willy McBozo Greasepaint’, and the disquieting proliferation of variants in the manuscripts is the equivalent of indecision over whether ‘McBozo’ should be spelled with a ‘Mac-’ and a small B. Plautus is a variant form of planipes (‘flatfoot’), attested as a nickname for performers in the barefoot Latin mime; Maccius means ‘son of Maccus’, the buffoonish hero of the Oscan fabula Atellana; while even the innocuous-looking praenomen Titus was used as a pet name for the male organ of business. The strong theatrical connections are nevertheless suggestive in the light of the ancient biographical tradition on Plautus, which is a shaky-looking edifice, but on one striking central point, there seems never to have been any doubt in antiquity: unlike other early Roman dramatists, Plautus came to the writing of plays not as a poet but as a professional man of the theatre. In contrast to his contemporaries Naevius and Ennius, he specialized in a single dramatic genre, and it may be his indifference to epic and tragedy in particular that kept him out of the aristocratic patronage and politics in which the careers of others were enmeshed.
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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 the well-made play and its conventional dramatic devices into his original, and most successful, plays, Society and Caste. The paper also examines the critical response to the well-made play in England and dramatists who use its formula, especially from the point of view of George Bernard Shaw, who famously called the French plays of Scribe and Victorien Sardou—“Sardoodledom.”
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Day, Barbara. "Czech Theatre from the National Revival to the Present Day." New Theatre Quarterly 2, no. 7 (August 1986): 250–74. http://dx.doi.org/10.1017/s0266464x00002220.

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Our knowledge (or pervasive ignorance) of theatre in Czechoslovakia is. sadly, still shaped in part by its being perceived as a faraway country of which we know little – almost as little as when Chamberlain thus identified it at the time of Munich. But there is also the fact that its theatre has been distinguished less by the work of individual dramatists than through collective creation, through ‘small forms’ such as cabaret, and through scenography and other aspects of technical innovation. While fully analyzing such features of Czech theatre, Barbara Day relates them to the political and social conditions of a country in which various forms of repression and censorship have made it difficult for the all-too-identifiable dramatist to become spokesperson for a national theatre. Having herself lived in Czechoslovakia for several periods between 1965 and 1969, Barbara Day returned to the study of Czech theatre in 1980, when she read for a research degree at Bristol University, also collaborating with the University's drama department in staging a Czechoslovak Festival in Bristol during October 1985.
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Daneshzadeh, Amir. "Analysis of Edward Bond’s War Plays." International Letters of Social and Humanistic Sciences 61 (October 2015): 1–6. http://dx.doi.org/10.18052/www.scipress.com/ilshs.61.1.

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The War Plays‘trilogy (Red, Black and Ignorant, The Tin Can People and Great Peace) presents the scenario of a waste land ‘with apocalyptical shades. The post nuclear environment of the plays reflects the Atmosphere of the historical period when it was written. The beginning of the eighties saw the debate about nuclear weapons and strong discussions about the Thatcher administration in this respect. Edward Bond emerged from a group of left-wing writers who joined the experimental fringe theatre in the 1970s. To make sense of this literature, we turn to content analysis to examine the trends and categorize the burgeoning management research of the past 25 years that uses content analysis. In Red Black and Ignorant characters confront the paradox. Society uses dramatists to create the drama it needs but a dramatist is not a conduit. He is responsible for what he writes, not out of duty but because discerning anything means evaluating it and this requires desire and commitment. What an author writes expresses the political position that informs his subjectivity. The way he writes shows his relation to himself, which is also his part in the social process. The relation 'creates' what he writes, the limitations come from the limitations of his skill.
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Wessel, Jane. "Possessing Parts and Owning Plays: Charles Macklin and the Prehistory of Dramatic Literary Property." Theatre Survey 56, no. 3 (September 2015): 268–90. http://dx.doi.org/10.1017/s0040557415000265.

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Eighteenth-century dramatists had little or no control over the production of their plays after the initial run. In spite of major strides made in copyright during the eighteenth century—developments that have long been studied and celebrated—dramatists were in an unenviable position when it came to owning their work. Literary property law initially extended only as far as print publication, not performance, and any theatrical company that was able to get hold of a playtext could produce that play without the permission of the author. As a result, dramatists received far less for their work than they otherwise might have.
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Kusovac, Olivera, and Jelena Pralas. "Repetition as Trapped Emotion in Tennessee Williams’s the Glass Menagerie." Studia Anglica Posnaniensia 51, no. 4 (December 1, 2016): 29–51. http://dx.doi.org/10.1515/stap-2016-0018.

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AbstractRepetition as a linguistic and stylistic device extensively used in Tennessee Williams’s plays has been noticed by many. At the same time, more psychologically-inclined scholars have frequently drawn parallels between Williams’s plays and his own experiences and emotional conflicts. In an attempt to combine the two perspectives, this article will explore the function of repetitions as indicators of trapped emotions in Williams’s celebrated and award-winning play The Glass Menagerie. Starting from the stylistic theoretical background, but at the same time taking into account the psychological insights into the link between Williams’s life and work through some basic concepts of Freud and Lacan, an attempt will be made to demonstrate that in this play linguistic repetition appears as an obsessive expression of the characters’ emotions as well as those of the dramatist himself, making him repeat and relive both his experiences and his emotions. The authors will first introduce the concept and functions of repetition as a linguistic and stylistic device and then explore its representative instances in individual characters and their meanings, ending with the parallels which can be drawn between the characters’ and the dramatist’s own experiences and emotions expressed or intensified through repetitions.
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Books on the topic "Male dramatists"

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Miśra, Snehalatā. Betāra nāṭyasrashṭā Gopāḷa Choṭarāẏa. Kaṭaka: Biśva Buks, 2003.

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Pherṇāṇṭas, Nelsaṇ. Nāṭakarāvukaḷ. [Kottayam]: Ḍi. Si. Buks, 2011.

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A, Rāmacāmi. Caṅkaratās Cuvāmikaḷ. Putu Tilli: Cākittiya Akkātemi, 2002.

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Dīna, Selima Āla, Haka Maphidula, and Sena Aruṇa 1936-, eds. Sāta saodā: Selima Āla Dīna, pañcāśatama janmabārshikī śraddhyārghya. Kalakātā: Sāhitya Prakāśa, 2008.

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In pursuit of culture. Dhaka: Printcraft, 2008.

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Family secrets. New York: Samuel French, 2006.

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Andreini, Giovanni Battista, b.1578., Ferrone Siro 1946-, Burattelli Claudia, Landolfi Domenica, Zinanni Anna, and Università di Firenze. Dipartimento di storia delle arti e dello spettacolo., eds. Comici dell'arte: Corrispondenze. Firenze: Casa editrice Le Lettere, 1993.

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Peter, Nichols. Blue murder: A play or two. London: Methuen Drama, 1996.

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Xi nu ai le, qing zai xi zhong. [Xinjiapo]: Chuang yi quan chu ban she, 2005.

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Ramanathan, Geetha. Sexual politics and the male playwright: The portrayal of women in ten contemporary plays. Jefferson, N.C: McFarland, 1996.

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Book chapters on the topic "Male dramatists"

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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, 41–58. Florence: 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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"Modernism's Advance: Post-Sama Dramatists." In Theatre of Nepal and the People Who Make It, 40–48. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108596428.005.

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Allison, Brent. "Anime Fans as Dramatists." In Handbook of Research on the Impact of Fandom in Society and Consumerism, 497–516. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1048-3.ch024.

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Though millions of school-aged children and youth are increasingly drawn to Japanese animation, or anime, schools in the United States have not capitalized on this potential conduit for cultural learning. This entails a significant loss in terms of the potential to reorient internationally-focused humanities and social science curricula towards culturally-relevant pedagogy. It would be helpful to explore how two populations that would likely be directly involved in anime curricula's implementation make sense of anime's pedagogical potential. This chapter explores the attitudes of Japanese animation fans towards the prospect of using anime in K-12 school curricula in contrast to the attitudes of aspiring public school teachers. Interview data from forty-four anime fans and forty-four aspiring teachers were analyzed to locate plotlines involving hypothetical teachers and students using anime in a classroom setting. Implications for teacher training programs and school curricula are discussed.
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Hutson, Lorna. "The Play in the Mind’s Eye." In The Places of Early Modern Criticism, 97–111. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198834687.003.0007.

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Anglophone criticism of English Renaissance drama largely assumes the irrelevance of sixteenth-century continental critical debates on how to achieve verisimilitude. This chapter argues that English dramatists’ rejection of the Aristotelian unities was not in itself a solution to the problems of making theatre imaginatively compelling: all the challenges discussed by Italian critics were also challenges for English dramatists. Their plays manipulate what we might call the ‘unscene’, whereby the audience infers and imagines characters’ past histories, motives, offstage locations, and inner lives. Shakespeare and other dramatists invite us to supplement and make sense of what we actually see onstage by their use of the topics of ‘circumstance’: topics of time, place, cause, and manner which, in the period’s rhetorical and dialectical traditions, were used to give narratives and descriptions an imaginative liveliness known as enargeia or evidentia. This account is supported by the contemporary critical witness of William Scott.
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Preedy, Chloe Kathleen. "Manipulating the Atmosphere." In Aerial Environments on the Early Modern Stage, 197–251. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843326.003.0005.

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Abstract The early modern dramatic representation of aerial technologies was complemented by effects that suggested a more sustained and transformative mode of atmospheric encounter. From the sprinkling of herbs to the simulated firing of towns, the professional English theatre depicted episodes that imagined—and might actually achieve—a material alteration in the aerial environment. Discursive olfactory prompts were often accompanied by visual signifiers, and some dramatists crafted plays that made sustained use of scented properties and effects. Dispersing from the stage into the space of the audience, the fumes of incense, tobacco, and sulphur-infused gunpowder would have exerted a powerful imaginative and perhaps material influence over the fictive and actual aerial environment(s) of the Elizabethan and Jacobean playhouses. Thus, by manipulating the atmospheric conditions of playgoing, early modern dramatists and companies further interrogated the aerial impact and prospective influence of their performed fictions.
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Hindson, Catherine. "When a Bestselling Author and a West End Actress Made a Spiritualist Performance: Collaboration, Networks and Theatre at the Fin de Siècle." In The Edinburgh Companion to Fin de Siècle Literature, Culture and the Arts. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474408912.003.0017.

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This chapter offers a detailed reconstruction of the performance of a piece of avant-garde drama to highlights the prominent role of women in theatrical culture at the time, as both dramatists and actresses, and the professional opportunities that were then opening for them. It also shows the importance of a growing celebrity culture, and the complexity of the interactions between theatre, politics, religion, gender and theatrical production. It shows that even avant-garde theatre, concerned with such archetypal fin-de-siècle concerns as the occult and mysticism, were still deeply implicated in, and made possible by, a growing leisure industry.
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Siegert, Folker. "Minor Jewish Hellenistic Authors." In A Guide to Early Jewish Texts and Traditions in Christian Transmission, 331–54. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190863074.003.0017.

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The Jewish writings presented here are only known from Christian excerpts: Aristobulus, Demetrius, Eupolemus, the dramatist Ezekiel, and others. Of particular interest is Jason of Cyrene, the author behind what has become the 2nd Book of Maccabees in the Christian Septuagint, in which the Maccabean warriors had to lend their name and their fame to a group of previously anonymous martyrs. His original writing can be reconstructed to some degree. Special attention is drawn to authors, male and female, of technical treatises on matters other than religious, that is law, beginnings of natural sciences, and rhetorics.
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Levin, Yael. "“To Make You See”? Marlow and the Anti-Ocular Turn." In Joseph Conrad, 71–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864370.003.0004.

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The chapter utilizes sight as a gauge with which to trace the transition from a philosophy of Being to a philosophy of Becoming. The cultural expressions of the anti-ocular turn observed in the nineteenth century provide the framework for a testing of Conrad’s use of the witness-narrator in Lord Jim, a novel that dramatizes the oscillations between an aesthetics of Being and one of Becoming. Bergson’s Creative Evolution and Time and Free Will inform the philosophical backdrop to the discussion, the anti-ocular turn of modernism its cultural complement, and narratology’s concept of the witness-narrator, the fictional measure against which these discourses strain. The three coalesce in an attempt to think the relation between sight, experience, and comprehension, between the demise of visual perception and its figurative, scientific, and philosophical expressions in the failure of categorical thinking and instrumental logic.
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Caldwell, Tanya M. "‘A lasting wreath of various hue’: Hannah Cowley, the Della Cruscan Affair, and the Medium of the Periodical Poem." In Women's Periodicals and Print Culture in Britain, 1690-1820s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419659.003.0008.

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The flirty poetic back-and-forth between Anna Matilda (Hannah Cowley) and Della Crusca (Robert Merry) helped launch the fledgling World (1787–1851) into the rank of one of the most popular London periodicals of its age. Tanya Caldwell moves past the sensationalism of their exchange to evaluate the married dramatist Cowley’s choice to participate in it as a means of involving a woman’s voice and perspective in topical – even radical – discussions as well as traditional, and traditionally male-dominated, classic poetic forms. A generic innovator in the drama, Cowley is also shown to be a canny professional writer with respect to the possibilities periodical publication could offer to women like herself.
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Bourke, Joanna. "Dancing the Polka." In Birkbeck, 160—C10.F3. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192846631.003.0010.

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Abstract The theatre at Birkbeck used to be one of London’s great attractions, renowned for hosting the most talented and popular entertainers, as well as for its elocution lessons, poetry readings, concerts, and musical recitations. It launched the career of Arthur Wing Pinero, one of the most distinguished dramatists and stage directors of the late nineteenth and early twentieth centuries, and the director who brought the ‘New Woman’ to the stage. The first signs of problems appeared as early as the 1920s, when Birkbeck began shedding its less ‘academic’ programmes in its bid to become a member of the University of London. Worse was to come in the 1950s. Plans for a new building in Malet Street did not even include a theatre. The Birkbeck theatre saw a temporary reprieve in the 1980s when members of the English Department reawakened the Birkbeck Players.
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Conference papers on the topic "Male dramatists"

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Aust, Matthias, Matthias de Clerk, Roland Blach, and Manfred Dangelmaier. "Towards a Holistic Workflow Pattern for Using VR for Design Decisions: Learning From Other Disciplines." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47460.

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In their respective design processes automobile manufacturers use more and more virtual prototyping. Today, even some design decisions are made, based on purely digital vehicle models. This is a report of a recent study, which was done with a German car manufacturer, that has looked into different academic disciplines besides computer science, to find new ways to vitalize and stage digital vehicle models. Usability engineering, psychology, dramatics, and theater teaching were consulted. As a result a novel workflow pattern is proposed, exemplarily conceptualized for Design Reviews of automobiles. It embeds the use of Virtual Reality (VR) or Mixed Reality (MR) between Briefing and Debriefing phases, to give the users a chance for preparing and postprocessing the digital experience. This workflow pattern and its pragmatic conception are introduced in this paper.
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