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Journal articles on the topic 'Male dramatists'
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1
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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李玉童, 李玉童. "由夢生情──從明代戲曲版畫中的女性凝視論男性慾望之投射." 明代研究 39, no. 39 (December 2022): 101–52. http://dx.doi.org/10.53106/160759942022120039004.
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<p>本文以明代印行的戲本為主要研究對象，探討晚明的戲曲家與發行商如何運用及闡釋男性夢境（dreamscape），以創造兩性的情感空間。夢境作為諸多中國古代戲劇文學的重要情節之一，以各種形式多次被呈現於舞台上與話本中。筆者以《梧桐雨》、《西廂記》、《漢宮秋》、《揚州夢》等戲劇作為研究文本，探討明代刊物中以男性為主體的夢境插圖。本文首先闡述元明戲劇中塑造男性夢境最常見的兩種模式：其中一種夢境時光回溯到離別發生前更早的節點，第二種夢境則塑造一個替代腳本（alternative scenario），合理地消解現實的悲劇。其次，本文以圖像為中心，重點討論其中「女性凝視」（female gaze）的母題如何使男性夢境中的女方由慾望的客體轉為視覺上的主體。通過描繪女性穿越夢境與現實的視線，這些明代戲劇插圖成為一種對同時代男性文人被欲求之渴望的顯像。</p> <p> </p><p>This article focuses on how late Ming dramatists and publishers employed and interpreted dreamscapes to create affective realms. The literary trope of dreams features prominently on the theatrical stage and in the pages of illustrated publications of playscripts. This article examines the illustrations of male dreamscapes in such Ming dynasty theatrical texts as Autumn Nights for the Tang Emperor: Rain on the Parasol Trees, Romance of the Western Chamber, Sorrow in the Han Palace, and Dream of Yangzhou. This article first discusses the two most common modes of male dreamscape in Yuan and Ming operas. The first mode introduces a dream scenario as a means to recall a happier moment from earlier in the play, and the second mode imagines a new alternative reality that functions to supplant the more tragic circumstances depicted in the main storyline. Centered upon images, this study then elaborates on how the motif of the female gaze is used by male playwrights to visually transform female characters from an object of desire to a desiring subject. Through the depiction of the female gaze which traverses the boundary between dream and reality, these Ming illustrations became sites for men within and outside of the play to project their desire of being desired.</p> <p> </p>
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Ojrzyńska, Katarzyna. "Eroticism in the “Cold Climate” of Northern Ireland in Christina Reid’s "The Belle of the Belfast City"." Text Matters, no. 3 (November 1, 2013): 121–38. http://dx.doi.org/10.2478/texmat-2013-0030.
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Closely based on the dramatist’s personal experience, Christina Reid’s The Belle of the Belfast City offers a commentary on the life of the Protestant working class in the capital of Northern Ireland in the 1980s from a woman’s perspective. It shows the way eroticism is successfully used by the female characters as a source of emancipation as well as a means not only to secure their strong position in the private domain of the household, but also to challenge the patriarchal structures that prevail in the Irish public sphere. The analysis of the play proposed in this essay focuses on the contrast between the presentation of its male and female characters. I will demonstrate that, while the former group desperately cling to the idea of preserving the social status quo, the latter display a more progressive outlook on the social and sexual politics of the country. In particular, I will investigate how the tensions between the representatives of the two sexes reveal themselves in the corporal sphere. I will argue that, as opposed to the erotically-inhibited and physically-inarticulate male characters, the female dramatis personae take advantage of being more connected to their bodies and use their physicality in an erotic fashion to subvert the rules of the patriarchal system and its strict moral code that limits their social roles to those of respectful mothers, obedient sisters or virtuous wives.
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Saunders, Graham. "Masters (and Mistresses) of Menace." Journal of Contemporary Drama in English 7, no. 1 (May 7, 2019): 12–28. http://dx.doi.org/10.1515/jcde-2019-0002.
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Abstract In Harold Pinter’s last completed project before his death, a screen adaptation of Anthony Shaffer’s play Sleuth (1970), a large publicity poster dominates the study of crime novelist Andrew Wyke, describing him as ‘the master of menace.’ This is also a self-referential joke directed at Pinter’s association with ‘comedies of menace,’ such as A Slight Ache (1957) and The Birthday Party (1958), that succeeded in creating feelings of unease and discomfort in ways that had not been seen in the theatre before. As a repertory actor before he became a dramatist, Pinter was likely to have encountered the fears and insecurities that theatre can create, and these perhaps return in the sinister environments that we find in his early plays. In turn, the queasiness and growing unease we encounter in Pinter’s drama has been appropriated by other ‘childe Harolds’ including Philip Ridley, Anthony Neilson, Martin Crimp, and Jez Butterworth, whose work follows variations of the Pinteresque. This article looks at some of the ways these dramatists have developed on from Pinter’s template of creating a sense of unease, yet at the same time these dramatists show an awareness of how the nature of fear has radically altered since the turn of the millennium. Signs of this change can also be found in Pinter’s work from the 1980 s: whereas previously fear had been vague in its aetiology, now it came out of the shadows to be named: Pinter’s ‘comedies of menace’ gave way to plays about torture by repressive political regimes in Party Time (1991) and memories of the Holocaust in Ashes to Ashes (1997). Since then the depiction of states of fear have forked off on two separate paths: latter day ‘childe Harolds’ such as Philip Ridley continue to promote what he has called ‘theatre as a ghost train,’ a place of disorientation designed to induce fear for its own sake, while a larger contingent that include Simon Stephens, Duncan Macmillan, Mike Bartlett, Martin Crimp, and Mark Ravenhill also make fears manifest: these include terrorism and the ensuing War on Terror, the Anthropocene and climate change and the precarity and repression of neo-liberal economies and the alienation of self-hood through technology.
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Sari, Lusi Komala, and Bede Blaise Chukwunyere Onwuagboke. "Pragmatic/Religious and Moral Values in Hermana HMT’s Drama Script “Robohnya Surau Kami” (“The Collapse of Our Mosque”)." International Journal of Evaluation and Research in Education (IJERE) 4, no. 4 (December 1, 2015): 207. http://dx.doi.org/10.11591/ijere.v4i4.4513.
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<span style="line-height: 107%; font-family: 'Times New Roman','serif'; font-size: 9pt; mso-fareast-font-family: 'Times New Roman'; mso-ansi-language: EN; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;" lang="EN">Life in heaven is the hope of all religious human. Yet, to reach the paradise as promised to all faithful is not an easy road. It needs the balance of earthly life and hereafter’s life to reach the place which is promised by God. The drama Robohnya Surau Kami (RSK) created by dramatist Hermana HTM which is adapted from a short story written by A.A. Navis conveys the aforementioned. Using descriptive technique to analyze Drama RSK it is found that the drama script is created by structural elements as other literary works. The social-religious theme presented in flashback plot made this drama script to heave the readers’ imagination upward. The dialogue which made the gradation of character of each character in the drama brings out the uniqueness of Drama RSK. Unfortunately, the presentation of such an interesting script was poorly supported by various means of literary and dramatics that appear blurred. Despite this, the drama revealed pragmatic view which symbolizes real life situations full of religious and moral lessons for edifying religious and good social life in the society.</span>
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Nedelea, Patricia. "Queering Drama - Or Let the Classics Going Beyond Limits." Theatrical Colloquia 10, no. 2 (December 1, 2020): 105–24. http://dx.doi.org/10.2478/tco-2020-0024.
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AbstractThis article proposes, explains and describes an original method called Queering Drama, which is the result of this article’s author one decade of research. Queering Drama is not just a theoretical work hypothesis, but also a practical performing method of going beyond limits by Queering the characters of any classic play (the Queering Drama method can be applied to modern plays as well, but the classic plays are the ones most staged, in greater need for new meanings and refashioning). What happened if one character from a classic play would not be put on stage and played as the dramatist dictates, from a sex and gender perspective? What if, instead of a heterosexual woman (labeled by the dramatist as the wife of..., the daughter of...), the character were played as a bisexual male, or a lesbian female, or a plurisexual hermaphrodite? How would that change the relations between the characters? Would it make a difference? Would such staging change the meanings of the play? Queering Drama involves rethinking and discovering new ways of reading old iconic plays, more specifically through their (iconic, by now) characters, and implicitly uncovering new ways of putting them on stage. The possible performance results are infinite new meanings of old plays, original ways of looking at classic characters and unseen, maybe unimaginable ways of staging the classics. The multidisciplinary theoretical base of this daring aim at Drama and Stage, coming from Pirandello the dramatist, entangles the academic fields of Drama, Feminist Theory, Literary Theory and Epistemology.
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Singh, Dr Pramod Kumar. "Mahesh Dattani’s “Do the Needful”: An Unconventional Romantic Comedy." SMART MOVES JOURNAL IJELLH 8, no. 10 (October 29, 2020): 74–81. http://dx.doi.org/10.24113/ijellh.v8i10.10802.
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Mahesh Dattani is a contemporary Indian English Dramatist who gave voice to the 60 million English speakers of India through his drama. He is the first dramatist recognised for his contribution in this field. Through his plays, he raises the problems of eunuch, homosexuality, transgender, child- sexual abuse, gender-discrimination, thought towards HIV-infected people etc. To such issues, he called them ‘fringe issue’ to whom we face but never take it as a part of society. Through ‘Do the Needful’ Mahesh Dattani has presented the problems of male homosexuality. The play was broadcasted by BBC. The play ‘Do the Needful’ is actually an unconventional romantic comedy.
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Petrusevich, Polina Yurievna. "MULTILINGUAL DRAMATICS WITHIN THE FRAMEWORK OF TEACHING TWO / THREE FOREIGN LANGUAGES TO SCHOOL STUDENTS." Russian Journal of Multilingualism and Education 11, no. 1 (December 15, 2019): 7–14. http://dx.doi.org/10.35634/2500-0748-2019-11-7-14.
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The article discusses the process of preparation for and performance of multilingual dramatics in the context of teaching two / three foreign languages to school students. The necessity of using theatricalization for personal, social and cultural students’ development and improvement of their language skills is explained. The objectives gained by means of multilingual dramatics are discussed. The article presents the stages of preparation and performance of multilingual dramatics in which the actors speak different languages: the textual stage, script-writing, staging, presentational and reflexive stages. The purpose of the textual stage is to choose and read the book (story) on which the dramatics will be based. Students familiarize themselves with the plot of the story and acquire new lexical items. At the script-writing stage students develop the script of their dramatics, allocate roles and decide what languages their characters will speak. The next step - staging consists of a number of rehearsals, performance enhancement and corrections. At the presentational stage students present their multilingual dramatics to the invited audience. The reflexive stage is to discuss the acquired experience, analyze the results and talk out the difficulties encountered, make suggestions and plan the future multilingual dramatics. The described process of preparation and performance of multilingual dramatics is realized annually (since 2014) by the author of this article in the system of supplementary education.
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Crittenden, Cole. "The Dramatics of Time." KronoScope 5, no. 2 (2005): 193–212. http://dx.doi.org/10.1163/156852405774858753.
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AbstractArt has as many definitions as it has practitioners, but one function of art is to help us understand the human experience, regardless of how our definitions of that experience differ. And since time is experience, art is particularly well-suited to treat it. Along with space, time, as a basic category of human experience, is, therefore, a basic category of artistic inquiry. Space is the primary focus of the visual arts, whereas music is an art form in time. Literature, however, always deals with both, and nowhere is this more apparent than in drama, where the time and space of the literary text are realized in the real time and real space of the performed text. Yet despite the widespread interest in time in much twentieth-century literary theory, the unique potential for the investigation of experiential time in drama has gone largely ignored. The purpose of this article is to address that curious absence, first by looking at the ways existing theories approach literary time (and largely fail to approach dramatic time), and then by discussing the generic and performative characteristics of drama (especially Russian drama, since that is the tradition with which I am most familiar) that make it in many ways the ideal art form in which to investigate time.
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Saxena, Ruchi, and Dr Anshu Raj Purohit. "Feminist concern of Girish Karnad Novel: Nagamandala." International Journal of Multidisciplinary Research Configuration 1, no. 4 (October 28, 2021): 41–44. http://dx.doi.org/10.52984/ijomrc1406.
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This present paper attempts to critically analyse the selected novel of Girish Karnad _Nagamandala. Girish Karnad, as a dramatist, is free from any such feminist tags and like Shashi Deshpande, an Indian woman novelist, treats ‘woman as a woman’ and as ‘a human being’. As a male feminist, he has treated the feminist issues like child marriage, loveless marriage, exploitation of wife in the hands of husband, double standards of society and law operating against her in the society etc. It also expresses the hollowness and injustice of patriarchal society. He insists that it is not patriarchy but matriarchy which is essential for society. Thus, the refined sensibilities of woman like love, sex, compassion and tolerance make her unsurpassable in the society. The pride of woman also finds a space in his play Naga Mandala.
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Janjatovic, Violeta. "WHIGS AGAINST TORIES: THE DEVELOPMENT OF AMERICAN DRAMA." Folia linguistica et litteraria X, no. 32 (2020): 65–83. http://dx.doi.org/10.31902/fll.32.2020.4.
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The overwhelming sarcasm and the taunting satire are certainly the feelings that accompanied the American revolutionary period. Approaching both the struggle for independence and the American Revolution, it is discovered that the colonists' sense of laughing and ridiculousness became more pronounced and readier in recognizing the weakness of its enemy and presenting it to the world through the biting laughter of satires. Many satires of this character did not suddenly appear. Their appearance leads to a period many years before the outbreak of the War of Independence and the famous Bacon Rebellion in 1676. Nevertheless, what cannot be denied is that by the approach of 1776, dramatic creativity started its rapid development. Immediately after the first war blow, satires began to be published in nearly every newspaper in the American colonies. American dramatists took an active part in the struggle for independence. At first, the potential, and later, an inevitable revolution made dramatists from the ranks of patriots and loyalists define themselves, their opponents, and the nature of the conflict itself in a way that remains intriguing and powerful over two hundred years later
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Shakir Loaybi Al-Zayadi, Ziyad, and Thamir R. S. Az-Zubaidy. "Male Identity in Sam Shepardʼs Eyes for Consuela." Journal of Education College Wasit University 48, no. 1 (August 1, 2022): 419–34. http://dx.doi.org/10.31185/eduj.vol48.iss1.2907.
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ABSTRACT
The focus of this study is Sam Shepard's Eyes for Consuela, a play which scrutinizes the functions and dysfunctions of human relationships in terms of societal and family structures. In this paper we examine Eyes for Consuela as a play conveying men's struggle for identity. Moreover, it depicts how the struggle between the two leading male characters is resolved by the primary female character in the play. As such, the play dramatizes how male characters' struggle for identity is preoccupied by their relation to female characters. Shepard's play presents the journey of an American man in a Mexican remote jungle. Hence, it shows two parallel and opposing worlds, American and Mexican, which sheds the light on two different settings and identities. This also represents a struggle in the creation of male identity for the male characters. Relying on Connell's hegemonic masculinity theory, we argue that Eyes for Consuela portrays how the discrepancies in the two male identities are influenced by their different cultures. Further, we suggest that it follows Kimmel's Guyland model, by revealing how the fear of being dominated might initiate manly attitudes and encourage identity evolution.
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Fink, Howard. "CKUA: Radio Drama and Regional Theatre." Theatre Research in Canada 8, no. 2 (September 1987): 221–33. http://dx.doi.org/10.3138/tric.8.2.221.
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This article details the contributions made especially during the late twenties and thirties to the history of theatre in Alberta throughout the West, and to the nation as a whole by station CKUA of the University of Alberta. It pioneered the broadcasting of drama and theatre education programmes, offèred an opportunity for dramatists such as Gwen Pharis Ringwood and Elsie Park Gowan, aided the founding of the Banff Theatre School (now Banff School of Fine Arts), and allowed for the development of Alberta's indigenous theatre.
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PAQUETTE, GABRIEL. "ROMANTIC LIBERALISM IN SPAIN AND PORTUGAL, c. 1825–1850." Historical Journal 58, no. 2 (May 11, 2015): 481–511. http://dx.doi.org/10.1017/s0018246x14000326.
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AbstractThis article examines Spanish and Portuguese liberal political thought in the period after the independence of Latin America (c. 1825–50). It argues that while Iberian liberalism undoubtedly reflected broader European and transatlantic debates and intellectual trends, it was distinguished by its robust engagement with literary romanticism. The article proceeds to describe and make a case for ‘romantic liberalism’ through the examination of texts by six politically engaged writers: Spanish statesman, poet and dramatist Francisco Martínez de la Rosa (1787–1862); Portuguese statesman, poet, novelist, and dramatist João Baptista da Silva Leitão de Almeida Garrett (1799–1854); Spanish poet and statesman Ángel de Saavedra (1791–1865), Duque de Rivas; Spanish parliamentarian and literary critic Antonio Alcalá Galiano; Spanish poet, journalist, and parliamentarian José de Espronceda (1808–42); and Portuguese historian, novelist, and journalist Alexandre Herculano (1810–77).
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Dr Ghulam Rasool Khawar. "AN REVIEW OF THEATRE'S SERVICES IN THE PROMOTION OF URDU COUPLETS." Tasdiqتصدیق۔ 4, no. 2 (January 4, 2023): 116–26. http://dx.doi.org/10.56276/tasdiq.v4i2.111.
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Doha is something like “Matla” –an opening couplet 0f a ghazal- characterized by spontaneity set in a particularly simplistic and pastoral life. Both of its lines rhyme with each other and they balance in weight. Doha enjoys a peculiar field of relevance. A definite form, specific inference, and dedicated language make integral parts of a Doha. This beautiful genre of literature flourished in the hands of religious enthusiasts like Sofis, Sunnats, and Sadhus. However, this progress of Doha is heavily indebted to an all-times-active institution of our society called theatre proper. Starting right from “Inder Saba” by Amanat to the works of Agha Hashar Kashmiri, we find indelible traces of Doha in these works. This article sifts out those traces of Doha in the works of our illustrious Dramatists. Besides a brief history of Urdu Theatre, this article will afford a short introduction to the great veterans whose works will be discussed here in Literature for Children. It made the history of children’s literature.
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Sarbin, Theodore R. "Emotional Life, Rhetoric, and Roles." Narrative Construction of Emotional Life 5, no. 3 (January 1, 1995): 213–20. http://dx.doi.org/10.1075/jnlh.5.3.03emo.
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Abstract From a narrative perspective, I suggest restructuring our understanding of the phenomena of emotions by broadening the conception of emotions to emotional life. I make the claim that emotional life is storied; further, that metaphors drawn from the discipline of rhetoric are indispensable to an understanding of emotional life. I make use of the distinction between dramaturgical rhetoric and dramatistic rhetoric to identify the rhetorical acts in which the actor is the author of a concurrent script (dramaturgical) from those for which the author-ship is located in cultural narratives (dramatistic). In conceptualizing emotional life as arising from patterned efforts to resolve moral issues, I turn to role theory to fashion a construction-moral identity roles-as parallel to, but not the same as, social-identity roles. (Social Psychology)
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Śrama, Marcin. "Pierre Clément – prekursor tematyki wolnomularskiej w dramacie." Studia Europaea Gnesnensia, no. 22 (December 15, 2020): 21–46. http://dx.doi.org/10.14746/seg.2020.22.2.
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The paper is concerned with the life and work of Pierre Clément, a Geneva-born journalist, dramatist and poet, who was one of the first to make a freemason a protagonist in a play. Issues re- lating to that author have not been discussed in Polish so far, even though Clément was a significant figure in French playwriting as the precursor of Masonic themes
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Gordon, Bonnie. "Talking back: the female voice in Il ballo delle ingrate." Cambridge Opera Journal 11, no. 1 (March 1999): 1–30. http://dx.doi.org/10.1017/s0954586700005504.
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Suzanne Cusick has recently argued that the musical processes of Monteverdi's Lamento d'Arianna purge Ariadne of passion and desire in order symbolically to make her a good wife. Written for the 1608 marriage of Francesco Gonzaga to Margherita de Savoy, the lament, according to Cusick, reflects Renaissance marriage and gender ideologies that were determined to silence women and put them in their place. Ariadne has dared to choose her own mate and therefore must suffer. Her fate is dramatised by her uncharacteristically long lament, which enacts the transformation women experienced as they gave up their own desires to the constraining institution of marriage. Cusick's argument is in line with recent critical tendencies to read early modern culture in terms of the opposition between passive female silence and active male desire.
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Титова, А. В. "Rochester and Shadwell: Literary Reminiscences." Иностранные языки в высшей школе, no. 1(52) (June 28, 2020): 33–39. http://dx.doi.org/10.37724/rsu.2020.52.1.005.
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Эпоха Реставрации, зарекомендовавшая себя ярким событием в истории культуры Великобритании, определила расцвет поэзии и драматургии, театрального искусства в целом, а также развитие патронажа в литературной и искусствоведческой области. Специфика эпохи обусловила рост литературной полемики, которая сама по себе становилась отдельным жанром эпохи и суть которой на примере конкретных ситуаций составляет объект настоящего исследования. К ярким примерам литературного противостояния второй половины XVII века следует отнести непросто складывающийся творческий и личностный диалог блестящего поэта-либертина Джона Уилмота, второго графа Рочестера, и талантливого драматурга Джона Драйдена. Взаимная критика не только содержания, но и стиля произведений оппонента, скрытые и явные панегирики в адрес других писателей эпохи Реставрации (например, драматургов Томаса Шедуэлла и Уильяма Уичерли), приемы сатиры и иронии, многочисленные аллюзии на современный литературный или политический материал позволили привлечь для анализа целый ряд произведений и представить историю взаимоотношений представителей эпохи Реставрации, оставивших яркий след в британской литературе. Restoration epoch is one of the most dramatic and outstanding periods in the history of the British culture. It was the golden time of opening theatres, flourishing of poetry and drama, developing literary patronage. Young writers created their works wholeheartedly and the nobility regarded their endeavors with favour. Naturally enough, literary battlefields saw the passions running high between patrons and their protégées, and these conflicts were no laughing matter. One of the most vivid examples of the literary debates is the struggle between the sensational libertine poet, John Wilmot, the second earl Rochester, and the talented playwright, John Dryden. Between the devil and the deep blue sea there appeared one more gifted dramatist, Thomas Shadwell. Originally Rochester referred to the latter in one of his satires where he condemned Dryden. He did that on purpose in order to make his former protégé angry. But once paying attention to Shadwell he was keeping an eye on him. The dramatist’s works became the subject of discussion in the satires by the libertine poet. Most of the reviews were glowing but Rochester never forgave anyone’s failures, and worse than that he hated betrayals (of the style, themes, friends and patrons). That is why it is really interesting to trace the relations of the two prominent representatives of the Restoration epoch who left their mark in the history of the British literature.
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Rosenberg, Tiina. "Upp till camp, systrar! Om motstånd och teater." Tidskrift för genusvetenskap 17, no. 3-4 (June 20, 2022): 4–18. http://dx.doi.org/10.55870/tgv.v17i3-4.4696.
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This essay takes as its starting point the theatre's great, hut seldom fully realized, subversive potential, and introduces four possible feminist strategies of resistance. These strategies have been chosen because they combine distance with irony as well as an antirealistic distance-creating stance. The first strategy concerns gender mobility such as crossdressing female to male and the flirtation between women, the second is camp, exemplified by Sue-Ellen Case s concept lesbian camp. The t h i r d strategy is brutality f o u n d in the Austrian dramatist Elf r i e d e J e l i n e k s feminist aestetics. Finally, an against-the-current reading of Wagner's Lohengrin is discussed.
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Nati, Ikhlas Muhammed. "The underestimated power of woman In Susan Glaspell’s Trifle." لارك 1, no. 21 (May 10, 2019): 14–25. http://dx.doi.org/10.31185/lark.vol1.iss21.659.
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This paper examines the theme of feminism through focusing on the female bonding as a means of gaining power .In this paper I’ll prove that the America dramatist Susan Glaspell (1876-1948) makes a feminist leap as she portrays her female characters with an ample cunning to secretly and humbly triumph over male prejudice. She challenged those who believed that the United States offered freedom and equality by demonstrating that women were not treated equally since they were excluded from participating in the justice system except as defendants the underestimated power of woman in Susan Glaspell’s Trifles (1916) which is written in the early twentieth century but it transcends time periods and cultures.
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Zahrawi, Samar. "The Hierarchy of Oppression, from Authoritarianism to Misogyny: A Study in the Monodrama of Mamdouh ʿUdwan." Arab World English Journal For Translation and Literary Studies 6, no. 1 (February 24, 2022): 20–29. http://dx.doi.org/10.24093/awejtls/vol6no1.2.
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This paper will focus on the drama of the Syrian dramatist and poet Mamdouh ʿUdwan (1941-2004), who has not yet received due critical attention. During his twenty years writing for the stage, ʿUdwan resisted oppressive political regimes and was consequently marginalized and impoverished. Due to censorship, his drama does not delineate the free society that he dreams of, nor does it openly censure the sources of corruption. On the contrary, he creates ambiguous male characters who enjoy a measure of dignity and social decorum but simultaneously unravel their toxic masculinity and oppressive nature. On the other hand, women are kept offstage and are victims of either male chauvinism or social hypocrisy. This study will follow the unmasking of male authority and its parallel to political and economic hegemony. The purpose is to critique the values of Arab culture, which customarily cements male privilege. An analytical study of the form and content of ʿUdwan’s monodramas That’s Life (1987), The Garbage Collector (1987), and The Cannibals (1984) will link oppressive social behavior to political autocracy. It suggests that misogyny and oppression of women are consequences of men feeling crushed by dictatorship and corruption.
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Chu, Zane E. "Christ's representation of sinners in Hans Urs von Balthasar and Thomas Aquinas." Scottish Journal of Theology 74, no. 3 (August 2021): 252–61. http://dx.doi.org/10.1017/s0036930621000417.
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AbstractIn his dramatic approach to the redemption, Balthasar takes seriously Christ's exchange of places with sinners. Christ upon the cross takes on sin itself, and not only its consequences, while remaining innocent. Balthasar critiques Aquinas for maintaining that Christ accepts only the consequences or punishments of sin. Aquinas strictly distinguishes between guilt and punishment, with Christ accepting only the latter out of charity to make satisfaction for sin. I argue that Balthasar does not get beyond Aquinas’ distinction between guilt and punishment but dramatises it for a more dynamic representation of the seriousness of sin and its redemption.
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Semak, O. I. "IHOR KOSTETSKYI AND EUGENE IONESKO: TYPOLOGY OF ARTISTIC THINKING." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 150–56. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-150-156.
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The article deals with the works of such famous playwrights as Ihor Kostetskyi and Eugene Ionesco. The comparison of the work of the Ukrainian playwright with the dramatic works of the world level made it possible to distinguish the laws that show that Ihor Kostetskyi's drama is a multi-faceted and ambiguous phenomenon in the literary process of the second half of the twentieth century. The study of the peculiarities of the literary heritage of I. Kostetskyi involves a profound analysis of the influence of the emigration factor on creative process of the writer. His close interweaving of universal, national, and moral issues was caused by life in emigration and the loss of Ukraine. The combination of Ukrainian mentality with the understanding of the philosophical concepts of the West allowed the playwright-emigrant to consider social and moral problems more panoramic. Using techniques such as phantasmagority of individual scenes, deconstructivistic distrust to language, the destruction of syntactics and paradigmatics and logical structural connections in some places allows us to characterize the poetics of I. Koste-tskyi’s style as an absurdity experiment based on the drama of the Baroque era.In the result of comparison of the heritage of Eugen Ionesco and Ihor Kostetskyi the author found that both dramatists rejected the canons of classical drama with its traditional plot, experimented with the form of works, the language of characters. The artistic material of their dramatic works unfolds through absurd situations that contrast with the world of reality.One of the problems raised by the authors is the problem of human communicability, which leads to leveling of the personality. Their verbal experiments are one of the factors in the creation of new generations of heroes. The dramatists did not abandon one of the main problems of existentialism - time as characteristics of human being.
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Moran, James. "Kate O'Brien in the Theatre." Irish University Review 48, no. 1 (May 2018): 7–22. http://dx.doi.org/10.3366/iur.2018.0326.
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Kate O'Brien initially made her literary reputation as a dramatist rather than a novelist. Her debut play Distinguished Villa (1926) won acclaim in London when first produced onstage, and critics compared her with Seán O'Casey. However, O'Brien's dramatic work manifests some key differences to O'Casey, not least O'Brien's recurring concern with the behavioural norms and sexual predilections of the English middle-classes, and her early awareness of the requirements of the British censor. Although O'Brien is remembered as a figure who transgressed the censorship rules of the Irish government, it was the British system of censorship she first had to navigate.
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Csúr, Gábor Attila. "Henrik Hajdus (1890–1969) Rolle I Udbredelsen Af Det 19. Og 20. Århundredes Danske Litteratur I Ungarn." Folia Scandinavica Posnaniensia 23, no. 1 (December 1, 2017): 46–59. http://dx.doi.org/10.1515/fsp-2017-0006.
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Abstract The Hungarian literary translator Henrik Hajdu (1890–1969) was one of the most extraordinary persons in the history of translating Scandinavian literature into Hungarian. Aside his activity as a translator from Norwegian and Swedish, Hajdu was also an important promoter of Danish authors of the 19th and 20th century. He held lectures on Nordic culture and literature, wrote reviews in prominent Hungarian journals and maintained regular contact to many of the Scandinavian publishers, writers, dramatists and poets. He translated novels by Henrik Pontoppidan, Martin Andersen Nexø and Sigrid Undset, made an edition of Ibsen's complete works and a great amount of short stories and poems. His oeuvre numbers about a hundred separate publications. This paper focuses on how he contributed to the general acceptance and reception of Danish literary works written between 1850 and 1930 among the Hungarian readers.
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P, Valli. "Women in Silappathikaaram." International Research Journal of Tamil 4, S-8 (July 21, 2022): 191–97. http://dx.doi.org/10.34256/irjt22s827.
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Silappathikaaram was written in a way to make women proud. They found that Kannagi, Madhavi, and Gopperundevi had adapted to the environment of that time. Kannagi is bound to her husband and lives a submissive life. Kannagi is represented as a woman who regrets not being able to fulfil her household duties due to her husband's separation and who does not think of herself except for her husband's happiness. Although Madhavi was born into the courtesan clan, she did not want to live that life. Through Madhavi, Ilangovadikal has made the world aware of the destruction of Kovalan and the state of one-to-one chastity, and the Kanikaiyar clan women who lived as materialistic were also noble. Even though Kopperundevi is a queen, she does not accept her husband's fascination with the beauty of a dramatist. The king, however, is interested in alleviating his wife's anger. Ilangovadikalar opines that the wife is unable to live because of the husband's death and that Kopperundevi is also applauded for chastity by showing through the character of the queen. He crowned women's chastity by saying that the gods were subordinate to chastity and that the gods themselves came down and carried Kannaki in the Pushpaka Vimanam (chariot). In addition, he made Kannagi a deity and made the kings of many countries build temples and worship her. The honour of worshipping women belongs to only Ilangovadikal.
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Carson, Neil. "Collaborative Playwriting: The Chettle, Dekker, Heywood Syndicate." Theatre Research International 14, no. 1 (1989): 13–23. http://dx.doi.org/10.1017/s0307883300005526.
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That a large number of Elizabethan plays are the product of dramatic collaboration is well known. Just how this process of ‘collective creation’ operated in the public theatres, however, remains something of a mystery. Attempts to explore the mechanics of collaborative play writing have been of different kinds. The most common have been studies of published plays undertaken in the hope that characteristics of style would reveal the shares of contributing dramatists. In spite of valuable work (notably by Cyrus Hoy), however, too many of these studies suffer from the weaknesses described by Samuel Schoenbaum in his analysis of the limitations of conclusions about authorship based on internal evidence. As a consequence, assertions about patterns of collaboration based on the identification of an author's stylistic characteristics, such as those made in the early 19205 by Dugdale Sykes, are not as fashionable as they once were.
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Kiehl, Christine. "From Chimera to Reality: Lucy Kirkwood’s Chimerica or ‘What State Are We in?’." Journal of Contemporary Drama in English 6, no. 1 (April 27, 2018): 191–205. http://dx.doi.org/10.1515/jcde-2018-0020.
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AbstractMark Ravenhill’s 2007 Shoot/Get Treasure/Repeat is a relevant state of the nation(s) play drawing an acid portrait of Anglo-American nations and their self-congratulatory ‘freedom and democracy’ propaganda in Irak. Other committed voices have made themselves heard on the British stage in addressing worldwide political and ethical issues. This paper focuses on Lucy Kirkwood, a young British dramatist whose pungent style was revealed in Tinderbox (2008), a dystopian farce set in 21st century England. Today, Lucy Kirkwood (33) who sees herself as ‘a radical young dramatist,’ continues to explore the confused landscape of western democracy: she sketched the relations between the USA and China in Chimerica (2013), an epic drama which won her an Olivier Award for Best New Play. In the wake of Brexit and the Trump election, Lucy Kirkwood has recently announced that she would pursue her investigation of the leading nations’ policies: “The whole of democracy looks fragile and farcical. After writing about communist China in Chimerica, you suddenly look at western democracy and think: is this necessarily better? Maybe this is the endgame” (Lawson, “Chimerica”).This paper explores Kirkwood’s vitriolic portrait of today’s leading nations, and her questioning of universal concerns experienced on a personal level such as power and privacy, nationalism and identity, profit and subservience. I will examine her peculiar ability to reformulate a ‘state-of-the-nation’ format and associate innovation and convention in her treatment of subject matter, language, dramatic form and performance.
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Muñoz Gallego, Almudena, and Pedro Quintino de Sousa. "Negotiation with Reality: The Discursive Elements of the Dramatised Dissemination Documentary." HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 11, no. 2 (August 3, 2022): 73–86. http://dx.doi.org/10.37467/gkarevhuman.v11.3268.
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The documentary genre is one of the audiovisual mechanisms with the greatest media efficiency in the transmission of reality. However, depending on the nature of the story, the construction of the textual and audiovisual discourse is altered. In this article, we consider the following questions: Is the documentary a format that is faithful to reality? What modifications does the discourse undergo so that the story is enhanced? To go deeper into this aspect, we intend to analyse the different elements that make up the documentary discourse in its transition from reality to fictionalised narrative. To this end, an inspection of the environmental dissemination documentary My Octopus Teacher (Netflix, 2020) will be carried out. An audiovisual proposal in which the coexistence between human and animal life turns environmental dissemination into a powerful instrument for transmitting scientific knowledge.
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Dilorom, Ismoilova. "SEMANTIC-STRUCTURAL PECULIARITIES OF SHAKESPEAREAN NEOLOGISMS." Social Sciences, Humanities and Education Journal (SHE Journal) 2, no. 2 (May 28, 2021): 78. http://dx.doi.org/10.25273/she.v2i2.9227.
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The article reveals the contributions of William Shakespeare to the development of the English language. Author discusses structural features of Shakespearean neologisms and highlights semantic differences in terms of periods of English language. The study reveals the peculiarities of Shakespearean neologisms due to the standpoints of methods of analysis. The article targeted to clarify the neologisms made in the realm of morphological word-formation. The author utilized the observation method and conducted the qualitative research. The neologisms by the dramatist are divided into 4 categories considering their ways of formation. They are following: the neologisms that were coined by affixation; the neologisms that were minted by syntactic way; originally new-born words; the neologisms that were coined by conversion.
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Holzberg, Niklas. "Äsopische geschichten in Meisterlied, Spruchgedicht und comedi." Beiträge zur Geschichte der deutschen Sprache und Literatur 140, no. 4 (December 19, 2018): 489–504. http://dx.doi.org/10.1515/bgsl-2018-0038.
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Abstract Hans Sachs, who, in upwards of 6000 poetic works, brought literature to the German-speaking urban middle and lower classes, adapted for his largely illiterate audience lengthy portions of Steinhöwel’s ›Esopus‹, including the ›Life of Aesop‹, turning them into Meisterlieder, Spruchgedichte, and a comedi. The ›Life‹ was the source, for one, of selected episodes which he could each rework adeptly for easy listening as individual shorter texts. In the work he wrote for the stage, ›Esopus der fabeldichter‹, moreover, he used his skill as dramatist to link a few episodes from the ›Life‹ and make of them a coherent plot with scenes not just strung loosely together, but united by an overarching theme.
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Hashemi, Mahsa. "A Few Bad Friends: Dynamics of Male Dominance and Failure of Masculine Bonding in David Mamet’s Glengarry Glen Ross." arcadia 55, no. 1 (June 5, 2020): 122–41. http://dx.doi.org/10.1515/arcadia-2020-0002.
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AbstractDavid Mamet is often considered as the quintessential dramatist of American urban life whose stage is peopled exclusively, and at times questionably, with men. Glengarry Glen Ross is the outstanding epitome of Mamet’s avid engagement with the world of men and their primordial, instinctive thirst for dominance, authority, and the celebration of their masculine prowess. Exploring the turbulent dynamics of male interactions determined and affected by contemporary capitalism, the present study investigates the disturbed depiction of masculinity and male bonding. Mainstream masculinity has been fundamentally linked to power and organized for domination. Historically changing and politically fraught, masculinity is the product of social learning or socialization. Rather than a celebration of the camaraderie of men, as most criticisms of Mamet focus upon, it is argued that the play highlights the failure of such fellowship and the tragic consequences. In Mamet, capitalism and the market economy do to men what in a patriarchal system men do to women: marginalize, dominate, displace. Men, therefore, are losing their cultural centrality, and with that, their capacity for constructive male bonds. Glengarry Glen Ross faithfully captures the sad ethos of American capitalism. The dynamics of dominance and success, the exercise of power, and the hierarchies of control lead to a dysfunctional network of male connections and interactions. Men are expected to develop more instrumentally functioning abilities and roles while maintaining the more expressively dominant roles they used to possess. Caught in between, they are only subject to alienation. This is the paradox of contemporary American men.
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Borowski, Yvonne. "Transwestyci (?) w "Thesmoforiach" Arystofanesa." Collectanea Philologica 14 (January 1, 2011): 53–64. http://dx.doi.org/10.18778/1733-0319.14.05.
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The article discusses the question of transvestism in the Thesmophoriazusae of Aristophanes. To provide a useful theoretical backdrop, the author begins with an analysis of the definition of cross-dressing as a complex socio-behavioural phenomenon. Next follows an examination of the four examples of male characters dressing up in female clothing in the analyzed comedy. These are the cases of Agathon, Cleisthenes, Mnesilochus and Euripides. The aim of the investigation is to point out the purposes of employing cross-dressing in the drama as well as to distinct the genuine transvestites among the comic dramatis personae.
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Khalil, Haider ibrahim. "The psychological factors and tragedy aspects in the selected plays of American dramatist Eugene O’Neill." Science Proceedings Series 1, no. 2 (April 24, 2019): 147–49. http://dx.doi.org/10.31580/sps.v1i2.819.
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The abstract of this paper is present the tragedy and psychological aspects of Eugene O’Neill‘s selected plays. The main objective is to review the dramatic life of the father of American drama and find out some tragic and psychological aspect in the plays such as Desire under the Elm, The strange interlude, the long day’s journey into night and other. The analysis is the narrative analysis as well as the data collection are to scan some psychological and tragedy concepts in original content plays. The main issues of the study is to make a link to the tragedy and psychological aspects in these selected plays. Furthermore to narrate about the dramatist and his literary life in literature especially in drama.
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Woodward, Guy. "‘These people know what they're fighting for’: Denis Johnston and the Partisans." Irish University Review 48, no. 2 (November 2018): 331–47. http://dx.doi.org/10.3366/iur.2018.0358.
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In March 1944 the dramatist and BBC radio correspondent Denis Johnston travelled to the Croatian island of Vis, to record spoken and sung contributions by Yugoslav Partisans and British Royal Air Force officers stationed there. Examining Johnston's wartime memoir Nine Rivers From Jordan alongside his broadcasts, manuscripts and notebooks, this essay considers the visit as a moment of imaginative liberation and escape, made possible both by Vis's utopian status as an island free from Nazi occupation and by the egalitarian social environment that he found there. Johnston's accounts are not entirely celebratory however, and the register of escape is complicated by the affinities he detects between the landscape of Vis and that of the West of Ireland, and between the communist Partisans and Irish Republicans.
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Freebury-Jones, Darren, Marina Tarlinskaja, and Marcus Dahl. "Attributing John Marston’s Marginal Plays." Studia Metrica et Poetica 5, no. 1 (August 5, 2018): 28–51. http://dx.doi.org/10.12697/smp.2018.5.1.02.
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John Marston (c. 1576–1634) was a dramatist of the Elizabethan and Jacobean periods, known for his satirical wit and literary feuds with Ben Jonson. His dramatic corpus consists of nine plays of uncontested authorship. This article investigates four additional plays of uncertain authorship which have been associated with Marston: Lust’s Dominion; Histriomastix; The Family of Love; and The Insatiate Countess. The internal evidence for Marston’s hand in these four texts is examined and an analysis made of the potential divisions of authorship. The essay provides a survey of Marston’s individual style by testing vocabulary; prosody; collocations of thought and language; and versification habits within both his acknowledged plays and the contested texts, in comparison to plays written by other authorship candidates.
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Llorens-Cubedo, Dídac. "The Waste Land: Potential Drama, Persistent Poetry." Revista Canaria de Estudios Ingleses, no. 85 (2022): 67–83. http://dx.doi.org/10.25145/j.recaesin.2022.85.05.
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"Late in his career, when he was fully devoted to dramatic writing, T.S. Eliot made the provocative statement that his early poetry was “striving ... toward the condition of drama.” This paper examines dramatic elements in The Waste Land (1922): scenes, voices/characters, and dialogue. In analysing the poem as a proto-dramatic text, it also considers Eliot’s future career as a dramatist (mid-1930s-late 1950s), as well as his contemporary essays on drama, and the unfinished play Sweeney Agonistes (1926-1927). Finally, this study explores the pervading presence of “Waste Land” imagery, moods, and diction in Eliot’s later plays. The dramatic quality of The Waste Land prefigures the plays, while these –as modern verse drama– hark back to the poem."
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Bhattacharya, Suchismita, and P. Suresh. "Mother-Daughter Relationship in the Plays Tara and Thirty Days in September of Mahesh Dattani." International Journal of Engineering & Technology 7, no. 4.36 (December 9, 2018): 640. http://dx.doi.org/10.14419/ijet.v7i4.36.24215.
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The mother-daughter relationship is the most beautiful and innocent relationship in this world. A mother does every possible thing to make her child happy. The relationship between a mother and daughter has considered one of the sweetest relationships on the planet because a daughter reflects the character and nature of her mother. In most of the cases, daughter is just the carbon copy of her mother. A child rests well in the mother's lap because it is the safest abode for the child. A child, especially a girl child is always special to her mother and vice-versa, but the feeling of being an individual gets ruined when a relationship between a mother and her daughter loses the balance. Relationships are based on trust, belief and love, and these three aspects are essential for the survival of any healthy relationship. Connections can either be made or can be broken, based on these three elements. The plays Tara and Thirty Days in September, written by the dramatist Mahesh Dattani, talk about the relationship between a mother and a daughter and the games also deal with the psychological mindset of the mother(s) and the daughter(s) and their sufferings in the urban society of India.
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Maufort, Marc. "Eugene O'Neill and Poetic Realism: Tragic Form in the Belgian Premiere of Long Day's Journey into Night." Theatre Survey 29, no. 1 (May 1988): 117–25. http://dx.doi.org/10.1017/s0040557400009145.
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As the critics Horst Frenz and Susan Tuck have made abundantly clear, O'Neill's theatrical reputation on the European continent has often fared well. Witness thereof are the splendid productions that the dramatist's later dramas received at the Royal Dramatic Theatre in Stockholm. Although the major foreign productions of O'Neill have by now been documented, those of smaller European countries such as Belgium have remained rather obscure. And yet, I would argue that the Belgian premiere of Long Day's Journey into Night possesses a significant historical importance. It took place, in a French adaptation, in the provincial town of Charleroi in March 1970 as a venture of the “Théâtre de l'Ancre.’ This production, if not flawless, emphasized O'Neill's mastery of poetic stage realism, and thus offered new insights into the meaning of his tragic experiments.
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Figueroa Dorrego, Jorge. "Ariadne’s Adaptation of Alexander Oldys’s The Fair Extravagant in She Ventures and He Wins." Sederi, no. 19 (2009): 177–88. http://dx.doi.org/10.34136/sederi.2009.8.
Full textAbstract:
In the preface to She Ventures and He Wins (1695), the young woman signing as “Ariadne” says that the plot of this play is taken from “a small novel,” the title of which she does not mention. Neither the editors Lyons and Morgan (1991) nor any of the few critics that have recently commented on this piece have identified the text upon which the play is drawn. The answer to this riddle is to be found in The Lives and Characters of the English Dramatick Poets (1699). The main plot of that comedy is Alexander Oldys’s The Fair Extravagant, or The Humorous Bride, a practically unknown text that has not been reprinted since 1682. The aim of this paper is to (re-)unearth that source, and to analyse how Ariadne adapted the male-authored original for her own purposes as a woman dramatist, combined it with a farcical sub-plot, and endeavoured to tailor it to the new tastes of the town.