Academic literature on the topic 'Mari drama'
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Journal articles on the topic "Mari drama"
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Kudryavtseva, Raisiya Alekseevna. "Mari folk Songs in the Artistic Structure of S. G. Chavain's Novel "Elnet"." Litera, no. 3 (March 2023): 147–75. http://dx.doi.org/10.25136/2409-8698.2023.3.39788.
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The article examines the folklore intertext of the novel "Elnet" by the classic of Mari literature Sergey Grigoryevich Chavain at the level of folk songs, reveals their place in the artistic structure of the novel text, analyzes their role in revealing the people's perception of the world and the nature of the creative personality of the intellectual-Mari, in the expression of the author's ideas. The song texts of the novel, directly borrowed from folklore or reworked by the author, as well as created by Chavain himself in the likeness of the content and stylistics of folk-poetic works, give the artistic narrative romantic sublimity, poetry, drama and national specificity, strengthen the author's concept of the world and character. The methodology of the research is determined by the structural and semantic analysis of the works. The article for the first time identifies and describes in detail the semantic and typological components of the folklore-song intertext of Chavain's novel "Elnet", its significance for the expression of its artistic content. It is proved that the song texts of the novel mostly reveal the traditional cultural way of life of the Mari people, their natural existence, orientation to myths and ideals (labor songs; ritual songs: wedding, including lamentation songs; lyrical, mainly love and orphan songs). They are directly related to the national issues of the novel and the author's concept based on the uniqueness of the Mari people and their culture. A lot of space is occupied by songs that highlight the difficulties of the pre–revolutionary social life of the Mari people, the inequality of ethnonational existence, which became the reason for the formation of revolutionary predilections in the popular environment (recruiting - about seeing off to war, orphans, lamentations). This folklore intertext helps to clarify the ideological and moral quest of Mari in the pre-revolutionary era, the search for ways of social and national liberation brewing in the depths of the people.
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Kirillova, I. Yu, and А. F. Myshkina. "Features of the origin and development of drama in the Chuvash and Mari literatures." Vestnik of the Mari State University 13, no. 4 (2019): 578–82. http://dx.doi.org/10.30914/2072-6783-2019-13-4-578-582.
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Willson, Rachel Beckles. "Paris, Théâtre du Châtelet: Péter Eötvös's ‘Angels in America’." Tempo 59, no. 232 (April 2005): 74–75. http://dx.doi.org/10.1017/s0040298205210173.
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Tony Kushner's play Angels in America is now secure in the canon of 20th-century US (and probably world) drama, but its subject-matter has not often been explored in the opera house. The play centres around questions about racial identity, connubial relationships and politics (that's all very operatic, of course); but also a type of intolerance and spiritualism that is peculiar to parts of the USA; and, most dramatically and provocatively, homosexual partnerships and AIDS. Aside from the historical examples provided by certain operas by Benjamin Britten (among others), the only operas on gay themes known to this writer are Matthias Pintscher's Thomas Chatterton (1994–97), Stewart Wallace's Harvey Milk (premièred 1995), Paula M. Kimper's Patient and Sarah (premièred 1998) and Estele Pizer's Perverse (premièred 2002) – and none addresses AIDS. So Péter Eötvös's new opera, to a libretto by Mari Mezei, directed by Philippe Calvario and premiered under the composer's baton on 29 November, seems nothing if not an intervention.
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Kirillova, I. Yu. "THE SYMBOLIC IMAGE OF MOTHER IN THE MODERN DRAMA OF THE VOLGA REGION (the case of Chuvash and Mari literatures)." Учёные записки Петрозаводского государственного университета 46, no. 1 (January 2024): 34–39. http://dx.doi.org/10.15393/uchz.art.2024.988.
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Rasmussen, Karsten Boye. "Standardization and certification save us from the frustrations of the Greek drama." IASSIST Quarterly 43, no. 1 (May 10, 2019): 1–2. http://dx.doi.org/10.29173/iq953.
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Welcome to the first issue of volume 43 of the IASSIST Quarterly (IQ 43:1, 2019).
The IASSIST Quarterly presents in this issue three papers illustrated in the title above. Chronologically we start from an early beginning. No, not with Turing, we time travel further back and experience ancient Greece. In this submission the Greek drama delivers the form, while data librarians deliver the content on data sharing. And it makes you a proud IASSISTer to know that altruism is the rationale behind data sharing. The drama continues in the second submission when librarians get frustrated because they suddenly find themselves first as data librarians and second as frustrated data librarians because ends do not meet when the librarians have difficulties servicing the data needs of their users, in combination with the users having unrealistic expectations. Finally, the third article is about standardization and certification that makes the librarians more secure that they are on the right track when building a TDR (Trustworthy Digital Repository). Enjoy the reading.
The first article is different from most articles. There is a first for everything! Not often are we at IQ offered a Greek drama. And here is one on data sharing. The article needed the layout of a play so even the typeface of this contribution is different. The paper / play is called 'An epic journey in sharing: The story of a young researcher’s journey to share her data and the information professionals who tried to help’. The authors are Sebastian Karcher and Sophia Lafferty-Hess at Duke University Libraries. The reason for using Greek drama as a template is that form can help us think differently - 'out of the box’! The play demonstrates the positive intention of data sharing, and by sharing contributing to something larger. The article references other researchers showing that scholarly altruism is a driving force for data sharers. No matter the good intentions of the protagonist, she finds herself locked in a situation where she is not able to take identifiable data with her when leaving the institution. And leaving the university is what undergraduates do. Without the identification, it is impossible to obtain re-consent from participants. Yes, it does look murky but there is even a happy ending in the epilogue.
The second article is about librarianship, and how that task is not always easy. 'Frustrations and roadblocks in data reference librarianship’ is by Alicia Kubas and Jenny McBurney who work at the University of Minnesota Libraries. Like many others, they have observed that many librarians find themselves as 'accidental data librarians'. That this brings frustration can be seen in the results of a survey they carried out. The methodology is explained, and descriptive statistics bring insight to what librarians do as well as to the frustrations and roadblocks they experience. Let us start with the good news: some librarians are never frustrated with data questions. The bad news is that only 3% fall into that category. On the other hand, 83% mention 'managing patron expectations’ among their biggest frustrations. It sounds as if matching of expectations should be a course at library school. Maybe it is already, and users with high expectations simply do not understand the complexity of the work involved. Fortunately, some frustrations can be lessened by experience, but there are others – called roadblocks, e.g. paywalls or lack of geographic coverage – that all librarians meet. Among the comments after the survey was that data persist as a difficult source type for librarians to support. The questionnaire developed and used by Kubas and McBurney is found in an appendix.
The last article in this issue raises sustainability as an important issue for long term data preservation, and the concept forms part of the title of the submission 'CoreTrustSeal: From academic collaboration to sustainable services'. The paper is from an international group of authors comprising Hervé L'Hours, Mari Kleemola, and Lisa de Leeuw from UK, Finland and the Netherlands. The seal is a certification for repositories curating data. The last sentence in the abstract sums up the content of the paper: 'As well as providing a historical narrative and current and future perspectives, the CoreTrustSeal experience offers lessons for those involved in developing standards and best practices or seeking to develop cooperative and community-driven efforts bridging data curation activities across academic disciplines, governmental and private sectors'. In order to attain CoreTrustSeal TDR certification and become a Trustworthy Digital Repository (TDR), the repository has to fulfil 16 requirements and the CoreTrustSeal foundation maintains these requirements and the audit procedures. The certification draws on preservation standards and models as found in Open Archival Information Systems and in the catalogues of ISO and DIN standards. The authors emphasize that the CoreTrustSeal is founded on and developed in a spirit of openness and community. The paper's sharing of the experience follows that spirit.
Submissions of papers for the IASSIST Quarterly are always very welcome. We welcome input from IASSIST conferences or other conferences and workshops, from local presentations or papers especially written for the IQ. When you are preparing such a presentation, give a thought to turning your one-time presentation into a lasting contribution. Doing that after the event also gives you the opportunity of improving your work after feedback. We encourage you to login or create an author login to https://www.iassistquarterly.com (our Open Journal System application). We permit authors 'deep links' into the IQ as well as deposition of the paper in your local repository. Chairing a conference session with the purpose of aggregating and integrating papers for a special issue IQ is also much appreciated as the information reaches many more people than the limited number of session participants and will be readily available on the IASSIST Quarterly website at https://www.iassistquarterly.com. Authors are very welcome to take a look at the instructions and layout:
https://www.iassistquarterly.com/index.php/iassist/about/submissions
Authors can also contact me directly via e-mail: kbr@sam.sdu.dk. Should you be interested in compiling a special issue for the IQ as guest editor(s) I will also be delighted to hear from you.
Karsten Boye Rasmussen - May 2019
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Jansson, Satu-Mari. "Teatteri ja draama työn oppimismuotoina." Aikuiskasvatus 35, no. 4 (December 1, 2015): 312–15. http://dx.doi.org/10.33336/aik.94162.
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Työelämän muutos edellyttää uusia näkökulmia myös työn kehittämiseen. Teatteri ja draama tarjoavat menetelmän osallistaa henkilökunta kehittämään organisaation toimintatapoja. – Satu-Mari Janssonin väitöskirja Teatteri ja draama työn oppimismuotoina (Helsingin yliopisto 2015).
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Zimmerman, Brett. "The Cosmic Drama of Melville’s Mardi." ESC: English Studies in Canada 16, no. 4 (1990): 417–32. http://dx.doi.org/10.1353/esc.1990.0004.
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Mohd Nor, Zaamah, Laura Christ Dass, and Noor Ahnis Othman. "Exploring Interactive Roles in the Communication Through Drama Online Classroom in Universiti Teknologi MARA, Malaysia." Environment-Behaviour Proceedings Journal 9, SI20 (March 13, 2024): 93–100. http://dx.doi.org/10.21834/e-bpj.v9isi20.5815.
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This qualitative study aims to identify and categorize interactive roles within a Malaysian tertiary drama classroom. It examines the impact of virtual interaction on students' language learning experiences when using drama to improve communication. Employing focus group discussions as the primary data collection method, this research involves 20 undergraduates enrolled in the Communication Through Drama (EPC522) course offered under the LG240 program, i.e., the Bachelor of Applied Language Studies-English for Professional Communication (Hons) in Akademi Pengajian Bahasa, Universiti Teknologi MARA, Shah Alam, Selangor, Malaysia. The study is based on the Social Constructivist theory by Vygotsky (1962, 1978) and the Visible Thinking (VT) approach identified by Ritchhart (2006) as part of Project Zero (PZ) at Harvard University. Online platforms and tools utilized for interactive drama activities are specified in the study. The findings reveal the challenges faced in completing drama activities online and demonstrate that the implementation of VT routines enhances students' interactive roles and communication skills. Despite the challenges, students embraced this new educational experience that fosters a more interactive and student-centered environment. The implications of these findings for language education and drama pedagogy in Malaysia are discussed.
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Nabiałek, Magda. "How to Read a Drama? Maria Renata Mayenowa’s Reading of "The Wedding" by Stanisław Wyspiański." Białostockie Studia Literaturoznawcze, no. 4 (2013): 251–58. http://dx.doi.org/10.15290/bsl.2013.04.17.
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Veress, Ferenc. "Following the Star : Nativity Scenes and Sacred Drama from the Middle Ages to the Baroque." Uránia 1, no. 1 (2021): 58–77. http://dx.doi.org/10.56044/ua.2021.1.4.eng.
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This study discusses the origin, and liturgical function, of a popular accessory of the Christmas celebrations, that is, the Bethlehem nativity scene. The events of the life of Jesus attracted much attention in the early period of Christianity, as a result of which the Holy Land was visited by flocks of pilgrims. Descriptions of the sentiments aroused by a pilgrimage to Bethlehem may be found in sources as early as the letters of Saint Jerome. Fragments of the Bethlehem manger were kept in the Santa Maria Maggiore Cathedral in Rome, so it is here that one of the first nativity scenes, a sculptural group by Arnolfo di Cambio, can be found (late 13th century). The work of Arnolfo was commissioned by the same Pope Nicholas IV who also sponsored the ornamentation of the Cathedral of San Rufino. One screen of the Giotto Assisi fresco cycle depicts Saint Francis’ Miracle of Greccio, in which the Holy Mass is celebrated over the manger and the Child comes to life. The Bethlehem nativity scene was the subject of numerous paintings and sculptures during the Renaissance and the Baroque era. From the sacrificial procession of the faithful in the liturgy evolved the genre of sacral drama, from which in turn mystery plays were developed, leaving the premises of the church. Nativity scenes incorporating elements of mystery plays, such as the presence of the shepherds, were intended primarily to make the miracle of embodiment a palpable reality for the believers. The presence of the Holy Family, the three Magi and the shepherds made the nativity scene realistic, always with a touch of the day and age. A tabernacle cabinet carried by angels was erected in 1589 over the Chapel of the Nativity in the Santa Maria Maggiore Basilica; commissioned, again, by a Franciscan Pope, Sixtus V. Caravaggio’s Adoration of the Shepherds altar paintings (the Museo Nazionale, Messina, and the San Lorenzo church, Palermo), represented a novel interpretation of the subject. In sculpture, Antonio Begarelli’s terracotta groups (1526-1527, Modena Cathedral), which resemble paintings, preceded baroque art. The nativity scene, as a genre in sculpture, started to flourish again in Hungary in the 17th century, a symbolic representative of which was the medieval Adoration of the Shepherds sculptural group found by Jesuits in the Town Hall of Lőcse (today Levoča, in Slovakia), a work executed by the master Pál Lőcsei (today in the Basilica of Saint James, Levoča). Three Magi altars are to be found in the churches of Saint Michael in both Sopron and Kolozsvár (today Cluj-Napoca, in Romania), which presumably must have had their medieval antecedents. While the Adoration of the Three Magi sculptural group is a work of an immigrant Bavarian sculptor, Georg Schweitzer, in Sopron, it was Franz Anton Maulbertsch who painted a Three Magi altar screen in Kolozsvár (Cluj-Napoca). Maulbertsch also developed the theme of the Three Magi and the Adoration of the Shepherds in two separate fresco scenes in the parish church of Sümeg, deliberately associating with the great tradition leading to the Church of Nativity in Bethlehem, via the Santa Maria Maggiore Basilica in Rome.
Dissertations / Theses on the topic "Mari drama"
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Britland, Karen. "Drama at the courts of Queen Henrietta Maria /." Cambridge : Cambridge university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40142192q.
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Stehr, Claudia. "Shakespeare as transcultural narrative : Te tangata Whai rawa o Weniti = The Māori Merchant of Venice /." e-Book (PDF), 2006. http://www.library.auckland.ac.nz/eproducts/ebooks/Shakespeareastransculturalnarrative.pdf.
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Thesis (MA)--Technischen Universität Carolo-Wilhelmina zu Braunschweig, 2006.Title from PDF cover (viewed on 5 October, 2007 ). "Magisterarbeit zur Erlangung des Magistergrades (M.A.) am Fachbereich für Geistes- und Erziehungswissenschaften".
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Bonnier, Anaïs. "L'empreinte des rituels. Persistance et mutations des formes et mécanismes rituels dans les dramaturgies occidentales des années 50 à nos jours." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030145.
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Dans cette recherche, nous souhaitons mettre en jeu la mémoire des rites. Le rite est un élément fondamental de la vie sociale, un repère fixe et solide. Il demeure très présent dans le drame contemporain, vision réputée particulièrement sombre d’une société désenchantée. Regretté dans sa capacité dramatisante, le rite est d’abord réintroduit dans l’écriture comme une forme poétique, esthétique, déconnectée du divin mais capable d’élever le texte. Pourtant, déchu de sa place supérieure et dénué de symbole, il devient une forme dérisoire, vectrice de désespoir. Le rite est alors cible d’une dégradation qui suit deux logiques. D’une part un blasphème jubilatoire, qui cherche à le démystifier, rabaissant tous les modèles au niveau humain le plus abject. D’autre part un glissement progressif vers des avatars rituels sombres et aliénants. Le rituel, enfin, devient un prétexte pour parler du monde. Des quotidiens ritualisés interrogent la place laissée à l’homme par la société, des rites institutionnels veulent révéler la violence inhérente à la religion. Le rite devient aussi prétexte à diverses sortes de jeux qui, paradoxalement, font apparaître la noirceur à travers une innocence affichée. Dans les dramaturgies contemporaines, le rite est à la fois valorisé comme outil dramaturgique et dégradé, parce qu’il n’est plus considéré comme une construction sociale efficace. Il demeure à l’état d’empreinte, utilisée comme modèle de représentation, mais dans une forme toujours incomplète. Pour les dramaturges, l’empreinte du rituel est un champ d’expérimentation, qui permet de renouveler l’écriture théâtrale et de poser un défi à la scèneThis research aims to explore the memory of rituals. Rituals are a fundamental element of our social life, a firmly established model. It remains very strongly present in contemporary drama, which is reputed to be a particularly dark vision of a disillusioned society. Missed in its dramatizing ability, the ritual is first reintroduced in drama as a poetic, aesthetic form, disconnected from divinity, but still able to elevate the text. However, being deprived of its former superiority and symbolism, it becomes an empty, trifling form, conveying despair. The rite is then debased in two ways. On the one hand, by a ferocious blasphemy aiming to demystify it, humbling all models to the worst human abjection. On the other hand, by slowly sliding into dark, alienating ritual avatars. Finally, the ritual is used as a pretext to comment upon the world. Ritualized everyday lives interrogate the place left to Man in society, and institutional rites aim to bring to light the violence inherent to religion. The rite also becomes a pretext for all sorts of games which paradoxically reveal darkness through apparent innocence. In contemporary drama, the rite is both valued as a dramatic tool and debased as an effective social construction. It remains as a mark, used as a representation model, but always in an incomplete form. For playwrights, the mark of the ritual is an experimentation field allowing them to renew dramatic writing as well as to challenge the stage
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Loehrmann, Jared. "Die Moderne Frau und ihr Drama: Marie Eugenie delle Grazies Drama Der Schatten (1901); ein Schlüsseltext zur Wiener Moderne." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1552.
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Marie Eugenie delle Grazies Drama Der Schatten wurde am 28. September 1901 im Wiener Hofburgtheater, einer der bedeutendsten Bühnen Europas, uraufgeführt, jedoch nach nur vier Vorstellungen abgesetzt. Das mit dem Bauernfeld-Preis ausgezeichnete Stück bildet den Zenit von delle Grazies literarischem Schaffen und beinhaltet Diskurse von hohem damaligem Stellenwert, die uns einen tieferen Einblick, vom Standpunkt der modernen Frau, ins Fin-de-Siècle Wien geben können. Das Drama und seine Dichterin wurden im Wien der Jahrhundertwende sowohl gefeiert als auch gerügt. Delle Grazie hatte mit Vorurteilen gegen sie als Frau und Dichterin, sowie mit der Kritik an ihrer unkonventionellen Dramaturgie zu kämpfen. Betrachtet man Der Schatten jedoch im Kontext der Zeit, wird schnell erkennbar, dass die Wiener Dichterin sich vorzüglich darauf verstand die Diskurse ihrer Zeit aufzugreifen und künstlerisch und unikal zu verarbeiten. Inhaltlich ist ihr Protagonist, der Dichter Ernst Werner, die moderne Antwort auf Goethes Faust. Werner ist der faustische Künstler, der sich in freudscher Fasson mit seiner dunklen Seite, seinem Schatten, auseinandersetzt. Dabei werden immer wieder Nietzsches philosophische Ideen thematisiert, insbesondere die des Übermenschen, der sich seine Welt neu erschafft. Darüberhinaus weist das Drama in seiner Darstellung ritualistische Charakteristen auf und erschöpft in seiner Thematik postmodernes Gedankengut, wie es im Film der Jahrtausendwende problematisiert wird.
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Martin, Maria Jose. "Drama and Poetry in the Music of Maria Luisa Ozaita (b. 1939)." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1006873170.
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O'Donnell, David O'Donnell, and n/a. "Re-staging history : historiographic drama from New Zealand and Australia." University of Otago. Department of English, 1999. http://adt.otago.ac.nz./public/adt-NZDU20070523.151011.
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Since the 1980s, there has been an increasing emphasis on drama, in live theatre and on film, which re-addresses the ways in which the post-colonial histories of Australia and New Zealand have been written. Why is there such a focus on �historical� drama in these countries at the end of the twentieth century and what does this drama contribute to wider debates about post-colonial history? This thesis aims both to explore the connections between drama and history, and to analyse the interface between live and recorded drama.
In order to discuss these issues, I have used the work of theatre and film critics and historians, supplemented by reference to writers working in the field of post-colonial and performance theory. In particular, I have utilised the methods of Helen Gilbert and Joanne Tompkins in Post-Colonial Drama: Theory, Practice, Politics, beginning with their claim that in the post-colonial situation history has been seen to determine reality itself. I have also drawn on theorists such as Michel Foucault, Linda Hutcheon and Guy Debord who question the �truth� value of official history-writing and emphasize the role of representation in determining popular perceptions of the past. This discussion is developed through reference to contemporary performance theory, particularly the work of Richard Schechner and Marvin Carlson, in order to suggest that there is no clear separation between performance and reality, and that access to history is only possible through re-enactments of it, whether in written or performative forms.
Chapter One is a survey of the development of �historical� drama in theatre and film from New Zealand and Australia. This includes discussion of the diverse cultural and performative traditions which influence this drama, and establishment of the critical methodologies to be used in the thesis. Chapter Two examines four plays which are intercultural re-writings of canonical texts from the European dramatic tradition. In this chapter I analyse the formal and thematic strategies in each of these plays in relation to the source texts, and ask to what extent they function as canonical counter-discourse by offering a critique of the assumptions of the earlier play from a post-colonial perspective. The potential of dramatic representation in forming perceptions of reality has made it an attractive forum for Maori and Aboriginal artists, who are creating theatre which has both a political and a pedagogical function. This discussion demonstrates that much of the impetus towards historiographic drama in both countries has come from Maori and Aboriginal writers and directors working in collaboration with white practitioners. Such collaborations not only advance the project of historiographic drama, but also may form the basis of future theatre practice which departs from the Western tradition and is unique to each of New Zealand and Australia. In Chapter Three I explore the interface between live and recorded performance by comparing plays and films which dramatise similar historical material. I consider the relative effectiveness of theatre and film as media for historiographic critique. I suggest that although film often has a greater cultural impact than theatre, to date live theatre has been a more accessible form of expression for Maori and Aboriginal writers and directors. Furthermore, following theorists such as Brecht and Brook, I argue that such aspects as the presence of the live performer and the design of the physical space shared by actors and audience give theatre considerable potential for creating an immediate engagement with historiographic themes. In Chapter Four, I discuss two contrasting examples of recorded drama in order to highlight the potential of film and television as media for historiographic critique. I question the divisions between the documentary and dramatic genres, and use Derrida�s notion of play to suggest that there is a constant slippage between the dramatic and the real, between the past and the present. In Chapter Five, I summarize the arguments advanced in previous chapters, using the example of the national museum of New Zealand, Te Papa Tongarewa, to illustrate that the �performance� of history has become part of popular culture. Like the interactive displays at Te Papa, the texts studied in this thesis demonstrate that dramatic representation has the potential to re-define perceptions of historical �reality�. With its superior capacity for creating illusion, film is a dynamic medium for exploring the imaginative process of history is that in the live performance the spectator symbolically comes into the presence of the past.
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O'Connor, Peter J., and n/a. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness." Griffith University. School of Vocational, Technology and Arts Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031210.113358.
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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in 1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.
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O'Connor, Peter J. "Reflection and Refraction: The Dimpled Mirror of Process Drama: How Process Drama Assists People to Reflect on Their Attitudes and Behaviours Associated with Mental Illness." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/366538.
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The National Project to Counter Stigma and Discrimination was established by the New Zealand government in1997. The Project recognised that people with a diagnosis of mental illness are marginalized and excluded from full participation in society. The Mental Health Foundation was contracted to provide workshops for mental health service providers to shift workplace attitudes and behaviours that were discriminatory or stigmatising. This thesis used a case study approach to capture and evaluate the significance and nature of the transitory form of process drama in three workshops I facilitated in largely Maori communities in the far north of the North Island. The principles of reflective practitioner research informed the use of research tools, data collection and analysis. This research focused particularly on reflective strategies that occurred inside process drama work and the way in which meaning was constructed in that context. The central research question asked: 'In what ways does process drama work to assist people to reflect on their attitudes and behaviours associated with mental illness?' This raised a secondary question: 'What potential is there for a model to counter stigma and discrimination that uses process drama as a central strategy?' This thesis posits a new model for understanding the nature of reflection in process drama. The mimetic notions of the fictional and the real as discrete and defined entities should instead be seen as permeable frames of existence that on occasions collide and collapse into each other. The double paradox of process drama is that, having created an empathetic relationship with the roles taken, we purposefully structure distance so we can then deliberately collapse the distance to create deep moments of reflection. I suggest a more accurate term to describe reflection in process drama is refraction. Refraction acknowledges that, rather than clarity, process drama seeks ambiguity: instead of resolving issues it seeks to further problematise and complexify. The tension of working with a democratic and open-ended art form towards a pre-ordained end as part of the project is closely examined. The impact of performative rituals and proto drama processes as part of the context of working in Maori settings is also explored. A three step model for countering stigma and discrimination is formulated and workshopped. The content of the model is based on an analysis of research undertaken within an anti-racist context, and models that have informed similar mental health campaigns. The form of the model is process drama. An analysis of the workshops demonstrated that the first model developed was limited in its effectiveness. Instead, participants should engage in repeating cycles of generating and investigating images. This leads to the development of what I have termed the Spiral Three Step Model. Although the effectiveness of the Spiral model is not tested in this research, it became apparent that the workshops based on this structure provided opportunities for participants to consider and reflect/refract deeply on their workplace's attitudes and behaviours.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Vocational, Technology and Arts Education
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Zingano, Erica. "Livro em deriva, percursos do EU no drama-poesia de Maria Gabriela Llansol." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-16082011-154951/.
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Livro em deriva, percursos do EU no drama-poesia de Maria Gabriela Llansol se aproxima de Onde vais, drama-poesia? (2000), da portuguesa Maria Gabriela Llansol (1931-2008), para atravessá-lo, seccionando-o, ao criar percursos de legência que acompanham algumas das várias linhas-camadas que compõem o livro. As linhas, derivas pensadas como desvios, cruzam o EU sob diferentes perspectivas: da autobiografia, ao jogo de cena, observando a questão da autoria e da alteridade, até o fragmento. Deambulações, tendo sempre como eixo o marco zero, a textualidade.Livro em deriva, percursos do EU no drama-poesia de Maria Gabriela Llansol approaches the book Onde vais, drama-poesia? (2000), by the portuguese Maria Gabriela Llansol (1931-2008), in order to traverse it, dividing it into sections to articulate reading guidelines or pathways, which follow some of the various lines-layers that compose the book. These lines, drifts understood as detours, intersect the I from different perspectives: from autobiography to theatrical playing, taking into account the questions of the authorship and alterity, to the fragment. Wanderings, wich always regard textuality as the ground zero.
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Summers, Julie Anne. "'Writing on the frontier' : European identification and the drama of Bernard-Marie Koltès." Thesis, University of Birmingham, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423363.
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The overarching aim of this thesis is to give an account of the theatre of Bernard-Marie Koltes in relation to contemporary France and Europe. It highlights the aspects of his work that convey a sense of Europe's common cultural heritage, and considers its potential role in promoting processes of identification across national frontiers. The study is divided into two distinct sections. Part 1 focuses on textual analysis, and Part 2 on performance. Part 1 analyses the thematic structure of Koltes's drama, together with the myths and language therein. A key argument is that, whilst Koltes's drama is firmly located within the national context of France, traditional notions of `Frenchness' are challenged. The ideas the plays address can be seen as also relevant to a wider European audience, and can help define a contemporary view of `Europeanness'. Part 2 examines how Koltes's themes and ideas have been conveyed on stage. It considers productions of his drama in the differing contexts of France, Africa, Germany and Britain, in relation to the themes and ideas outlined in Part 1. The analysis teases out those aspects of the work that are perceived as `French' - such as the language and style of the drama - and those which have apparently crossed cultural frontiers - such as its settings and themes. The thesis concludes that Koltes's drama is both French and European. It suggests that his theatre opens channels for European identification between France and other cultures - particularly those that share western capitalist values and a history of colonial adventure. However, a further conclusion is that Koltes's plays do not furnish audiences with a comfortable image of the individual in contemporary Western European society.
Books on the topic "Mari drama"
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Mușat, Mircea. Drama României mari. București: Editura Fundației România Mare, 1992.
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Fomina, A. Peled, tu̇zlane, shochmo Mariĭ Ėlem: St͡senariĭ-vlak. Ĭoshkar-Ola: Mariĭ Ėl Respublikyn tu̇vyra, pechatʹ da kalyk-vlakyn pashasht shotyshto ministersvyzhe, Respublikyse ustalyk ru̇der, 2005.
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Lukianov, S. S. "Shanavẏl": Folʹklor ansamblʹyn folʹklor kartin st͡senarivläzhẏ. Ĭoshkar-Ola: Respublikyn khalyk tvorchestvo t͡sentr, 2006.
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Leconte, Patrice, Thierry de Ganay, and Patrick Cauvin. Le Mari de la coiffeuse: The Hairdresser's husband. Place of publication not identified]: Severin, 2009.
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Boi︠a︡rinova, G. N. Problema kharaktera v sovremennoĭ mariĭskoĭ dramaturgii: Monografii︠a︡. Ĭoshkar-Ola: Mariĭskiĭ gos. universitet, 2005.
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Druță, Ion. Maria Cantemir, ultima dragoste a lui Petru cel Mare: Epopee istorică în unsprezece tablouri, cu epilog. [Chișinău]: Editura "Universul", 2008.
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Libera, Leszek. Maria Stuart: Dramat Juliusza Słowackiego. Zielona Góra: Uniwersytet Zielonogórski, 2003.
Find full textBook chapters on the topic "Mari drama"
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Tschörner, Sylvia. "Bernard-Marie Koltès." In Kindler Kompakt: Drama des 20. Jahrhunderts, 184–89. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_41.
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King, C. M., and T. Roa. "The Maori of the Central North Island Before 1860." In The Drama of Conservation, 43–66. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-18410-4_3.
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Sofer, Andrew. "Maria Irene Fornes: Acts of Translation." In A Companion to Twentieth-Century American Drama, 440–55. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996805.ch27.
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Clare, David. "Charlotte Brooke’s Impact on Ascendancy Women Writers from Maria Edgeworth to Lady Gregory." In Irish Anglican Literature and Drama, 65–85. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68353-5_4.
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Fischer, Conrad. "Zwischen Historia und Fabula. Maria Stuart als gespenstische Schwellenfigur in Andreas Gryphius’ Carolus Stuardus." In Neues von der Insel, 399–414. Berlin, Heidelberg: Springer Berlin Heidelberg, 2024. http://dx.doi.org/10.1007/978-3-662-66949-5_18.
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ZusammenfassungThis article seeks to contextualize a comment by the author Gryphius on the appearance of Mary Stuart in his tragedy Carolus Stuardus (1657/1663). To explain her entry, Gryphius lectures on the historical sources from Buchanan to Camden for the portrayal of Mary Stuart as the sufferer of a trial of injustice. In contrast, there is the literary history of reception, which Gryphius doesn’t mention. Here, after her death, for example in Joost van den Vondel's drama Maria Stuart (1646), Mary Stuart is staged primarily as a Christian Catholic martyr. Gryphius, in turn, according to the central thesis of this article, transforms her Christian martyrdom into a political one by staging Mary as a spirit of the dead. As a dramatic example, Mary thus lends her (ghostly) voice to the historical injustice of the English regicide.
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Fitzgerald, Christina M. "Of Magi and Men: Christ’s Nativity and Masculine Community in the Chester Drama Cycle." In Varieties of Devotion in the Middle Ages and Renaissance, 145–62. Turnhout: Brepols Publishers, 2003. http://dx.doi.org/10.1484/m.asmar-eb.3.103.
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Chesnokova, Tatiana G. "Fielding the Novelist as an Intermediary in the Development of English and French Drama in 1760–1780s." In The Multifaceted Fielding, 221–47. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0616-1-221-247.
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Novels by Fielding (including the best of them — The History of Tom Jones) not only accumulated and transformed the experience of the earlier development of English comedy of manners (belonging to Restoration and early Enlightenment), but in their own turn affected theatrical plays both in England and other European countries. Providing a source for many dramatic pieces on both sides of the English Channel, the famous novel kept on playing an intermediary part in the literary process and in theatrical life in the second half of the 18th century, acting as a catalyst for current tendencies both in style or genre development (particularly in drama). The multidirectional processes expressing this function are considered by the example of original plays, translations and adaptations which appeared in England and France in 1760–1780s and belonged to George Colman the Elder, Richard Cumberland, Richard Brinsley Sheridan, Mari-Jeanne Riccoboni, and Pierre Jean-Baptiste Choudard (Desforges). The author points out the special significance of Colman’s comedy The Jealous Wife which played an important role in the processes of genre adaptation of the central motifs of novels by Fielding on the ground of dramatic literature and in the interrelations of different national theatrical traditions in the 18th century.
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"First Taste of Drama." In Marie Dressler, 4–12. The University Press of Kentucky, 2014. http://dx.doi.org/10.2307/j.ctt5hjzqn.5.
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Richardson, Alan. "Proserpine and Midas: Gender, Genre, and Mythic Revisionism in Mary Shelley’s Dramas." In The Other Mary Shelley, 124–39. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195077407.003.0007.
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Abstract In 1820 Mary Shelley began studying Greek. The previous year she had been at work transcribing the manuscript (now lost) of Prometheus Unbound, Percy Shelley’s revisionist response to Aeschylean drama. Now, in the midst of her Greek studies, she wrote two revisionist mythological dramas of her own, Proserpine, which she eventually published in the Winter’s Wreath for 1832, and Midas, which apparently remained in manuscript until 1922. Both works were written in partial collaboration with Percy, who supplied two lyrics for each; as a result, Mary Shelley’s plays have held a marginal reputation among critics who, more interested in the poetry of her husband, have seen them (to the disparagement of her other works) as catching “something of the pure Shelleyan limpidity.”
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"EVOLUTIONARY DRAMAS." In The Essential Mary Midgley, 249–55. Routledge, 2004. http://dx.doi.org/10.4324/9780203319635-26.
Full textConference papers on the topic "Mari drama"
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DOSPINESCU, Liviu. "Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.
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This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.
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Li, Danying, Stella Zhang, Chia-Huang Chen, Youping Zhang, Alex Huang, David Xu, Yufeng Wang, et al. "Robust alignment mark design for DRAM using a holistic computational approach." In Optical Microlithography XXXII, edited by Jongwook Kye and Soichi Owa. SPIE, 2019. http://dx.doi.org/10.1117/12.2532841.
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Jayasinghe, Manouri K. "Overreaching Ambition, the Harbinger of Tragedy: Observing the English Literary Periods." In SLIIT International Conference on Advancements in Sciences and Humanities 2023. Faculty of Humanities and Sciences, SLIIT, 2023. http://dx.doi.org/10.54389/nrym5114.
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Ambition, innocently defined as ‘something one ardently desires to achieve,’ by the Oxford Learners Dictionary, harbors a paradoxical trait - its capacity for peril when taken to excess. This enigma finds early expression in the myth of Icarus, whose disregard for moderation led to his tragic demise. Across the annals of English literature, from the Renaissance to the Modern era, this theme of ambition’s double-edged sword echoes prominently. Works like Christopher Marlowe’s The Tragedy of Dr. Faustus, the Shakespearean tragedies both Macbeth and Julius Caeser straddling the Elizabethan and Jacobean periods, Mary Shelley’s Romantic masterpiece Frankenstein, Emily Bronte’s enduring classic Wuthering Heights from the Victorian era, and Arthur Miller’s Modern American drama Death of a Salesman all serve as vivid canvases depicting the havoc wrought by unchecked ambition. This paper examines the motivations and consequences of unrestrained ambition, highlighting the importance of moderation in pursuing one’s goals. Applying a qualitative methodology rooted in textual analysis, this research aims to provide a comprehensive understanding of the impact of overreaching ambition on literary characters and its reflection on society.
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Apetri, Dumitru. "Caragiale în spaţiul culturii ruse: interpretări critice şi evocări beletristice." In Ion Luca Caragiale și personajele sale emblematice (170 de ani de la naștere). “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/ilc.170.2022.04.
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În a doua jumătate a secolului al XX-lea spațiul cultural rusesc a manifestat un interes sporit pentru opera marilor clasici români: Eminescu, Creangă, Slavici și Caragiale. Procesul de receptare s-a produs, în linii mari, pe două căi – traducerea artistică și interpretarea critică. Cât privește creația lui I. L. Caragiale putem spune următoarele: au fost traduse în limba rusă cele mai importante opere caragialiene; cititorul de limba rusă a dispus, pe parcursul anilor, de un șir de materiale de ordin informativ, precum și de veritabile interpretări critice. Printre lucrările de ordin exegetic se impun studiile semnate de Lev Cezza Творчество Караўиале (Kishinev, 1961)) și S. Sadovnik Ion Luka Karadzhale (Leningrad-Moskva, 1964). Ca lucrare de dimensiuni impunătoare se prezintă și volumul lui Ilia Konstantinovski Karadzhale (Moskva, 1970), care face parte din cunoscutul și înalt apreciatul de cititori serial „Zhizn’ zamechatel’nyh ljudej”. În aceste lucrări este reflectată calea de creație a comediografului, mesajul și măiestria artistică a operelor caragialiene (drame, comedii, nuvele și schițe), precum și circulația lor în contextul literaturii naționale și universale.
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Gruss, Stefan, Ansgar Teipel, Carsten Fuelber, Elyakim Kassel, Mike Adel, Mark Ghinovker, and Pavel Izikson. "Test of a new sub-90-nm DR overlay mark for DRAM production." In Microlithography 2004, edited by Richard M. Silver. SPIE, 2004. http://dx.doi.org/10.1117/12.534518.
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Bobroff, Norman, and Alan E. Rosenbluth. "Optical Alignment for Lithography." In Soft X-Ray Projection Lithography. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/sxray.1991.fc1.
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The total overlay budget in semiconductor lithography has many components, including mask dimensional accuracy, tool-to-tool printing distortion, and process bias, but historically alignment registration has been the most critical. Yet progress in alignment has not kept pace with the exponential increases in printing resolution achieved during the last 10 years. In manufacturing, it is difficult to overlay lithography levels better than 200 nm at the 3 σ confidence level. Registration accuracy is limited by the complex interaction of the alignment optics with wafer registration marks at different process levels. Recent experimental and analytical work has led to an understanding of how to design optical alignment systems with reduced sensitivity to mark structure, coatings and processing. However, it is possible that no single alignment system can be optimized .for all process layers encountered in the fabrication of DRAMS or bipolar logic.
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Sewell, Harry, Scott J. Smith, and Daniel N. Galburt. "0.10-μm overlay for DRAM production using step and scan." In Microlithography '90, 4-9 Mar, San Jose, edited by Victor Pol. SPIE, 1990. http://dx.doi.org/10.1117/12.20193.
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Maltabes, John G., Steven J. Holmes, James R. Morrow, Roger L. Barr, Mark C. Hakey, Gregg Reynolds, William R. Brunsvold, et al. "1X deep-UV lithography with chemical amplification for 1-micron DRAM production." In Microlithography '90, 4-9 Mar, San Jose, edited by Michael P. C. Watts. SPIE, 1990. http://dx.doi.org/10.1117/12.20090.
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Park, Junsoo, Eun-Ju Lee, and Ik-Soon Jang. "Abstract LB-83: Reduced expression of DRAM2 in tumor cells interferes with both apoptosis and autophagy." In Proceedings: AACR 103rd Annual Meeting 2012‐‐ Mar 31‐Apr 4, 2012; Chicago, IL. American Association for Cancer Research, 2012. http://dx.doi.org/10.1158/1538-7445.am2012-lb-83.
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