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Journal articles on the topic 'Melodrama, English. English drama English drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

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

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One of the surest ways of registering disapproval of a play or a performance is to dismiss it as ‘melodramatic’, thus invoking a whole network of mistaken dramatic values and improper practice. In arts reviews, classrooms and text books, ‘melodrama’ recurs as the ‘other’ of ‘proper’ realist drama. In English Drama: A Cultural History, we describe the critical history of melodrama as ‘The Unacceptable Face of Theatre's importance and seriousness. One of the most influential interventions came from Peter Brooks, whose Melodramatic Imagination propounds two arguments in favour of melodrama'scultural centrality: first, Brooks shows how Diderot and Rousseau anticipated the French form of melodrama, then he makes connections between melodramatic gesture or sign and the work of Saussure or Barthes. My aim here is to develop the case further by suggesting that, in the case of English melodrama, the practice of the form as it emerged was very far from being non-intellectual, out of control or stupid. Indeed the dramatists themselves were well conscious of what they were doing formally: not only intelligence but also self-reflection were there from the start.

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2

Miller, John MacNeill. "When Drama Went to the Dogs; Or, Staging Otherness in the Animal Melodrama." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 526–42. http://dx.doi.org/10.1632/pmla.2017.132.3.526.

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For much of the nineteenth century, nonhuman animals shared the English stage with human performers in a series of popular, widely produced quadruped dramas. Work in animal studies and performance theory overlooks this phenomenon when it laments theater's unbroken history of animal exclusion—a notion of exclusion that quadruped dramas actually helped propagate and reinforce. The animal melodramas produced through the Victorian era featured animal characters whose appeal depended on the perceived otherness of animal actors, especially the knowledge that animals did not so much act in the drama as perform set responses to subtle, real-world cues from their trainers. Playwrights used animals' imperfect integration in the dramatic illusion to inject an uncanny sense of reality into their melodramatic plots. Their experiments with estrangement admit the difficulties of animal performance by explicitly staging animal otherness—but only as a spur to deepen human engagement with the more-than-human world.

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3

Aston, Elaine, and Ian Clarke. "The Dangerous Woman of Melvillean Melodrama." New Theatre Quarterly 12, no. 45 (February 1996): 30–42. http://dx.doi.org/10.1017/s0266464x0000960x.

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Almost in its death throes at the turn of the present century, sensational melodrama threw up a curious mutation at the hands of the prolific playwrights and managers, the brothers Walter and Frederick Melville. In numerous of their plays performed in the decade or so before the First World War, the ‘New Woman’, whose rights and rebellions were simultaneously the focus of debate in so-called ‘problem’ plays, took on a new and threatening aspect – as the eponymously ‘dangerous’ central character of The Worst Woman in London, A Disgrace to Her Sex, The Girl Who Wrecked His Home, and a score or so of similar titles. In the following article Elaine Aston and lan Clarke explore the nature of these ‘strong’ female roles, both as acting vehicles and as embodiments of male fears and fantasies, in a theatre which existed in large part to serve such needs and which, through such characters, at once fictionalized and affirmed the fears of ‘respectable’ society about the moral stature of the actress. The authors both teach in the Department of English and Drama at Loughborough University, where lan Clarke is Director of Drama, having previously published his own study of Edwardian Drama in 1989.

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4

Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (November 2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.

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In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still largely unknown and none has a claim to be a tragedian. Academic studies of Arabic tragedy are insubstantial, while tragedy, in the classical sense, plays a very minor role in Arab drama, the tendency of Arab dramatists being towards comedy or melodrama. Safi Mahmoud Mahfouz is Head of the Department of English Language and Literature at UNRWA University, Amman, Jordan. His research interests include American Literature, Arabic and Middle Eastern literatures, modern and contemporary drama, contemporary poetics, comparative literature, and synchronous and asynchronous instructional technology.

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5

Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.

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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public culture has taken up in our lives. The vacuum shows us that what's missing mattered. And if scholars of Victorian theater have shared a primary goal, it's to insist on how deeply the collective experience of playgoing influenced the everyday practices and beliefs of the period—even when theater and drama may not always appear on Victorian syllabi or conference programs. This essay considers three recent studies in Victorian theater—The Cambridge Companion to English Melodrama (2018), edited by Carolyn Williams; The Drama of Celebrity (2019), by Sharon Marcus; and Everyone's Theater: Literature and Daily Life in England, 1860–1914 (2019), by Michael Meeuwis—to register the force that theatrical performance exerted on Victorians and to explore how that force could change our sense of the field. By dwelling with archives and objects that might otherwise get classed as cultural “ephemera,” these studies push us to acknowledge that the run of Victorian theater hasn't ended. In the collective pause before a moment of intense feeling, or in a contradictory attachment to a public figure who is both imitable and extraordinary, they find a repertoire of spectator behavior from which many of our own modes of attention derive.

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6

Vidal, B. "English Heritage, English Cinema: Costume Drama since 1980." Screen 44, no. 3 (September 1, 2003): 351–54. http://dx.doi.org/10.1093/screen/44.3.351.

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7

Sagar, Aparajita, and Bruce King. "Post-Colonial English Drama: Commonwealth Drama since 1960." World Literature Today 68, no. 1 (1994): 228. http://dx.doi.org/10.2307/40150112.

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8

Wickham, Glynne, Marianne G. Briscoe, and John C. Coldewey. "Contexts for Early English Drama." Modern Language Review 86, no. 4 (October 1991): 971. http://dx.doi.org/10.2307/3732563.

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9

Wetmore, Kevin J. "Modern Japanese Drama in English." Asian Theatre Journal 23, no. 1 (2006): 179–205. http://dx.doi.org/10.1353/atj.2006.0013.

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10

WIGGINS, MARTIN. "MORINDOS AND ENGLISH RENAISSANCE DRAMA." Notes and Queries 41, no. 4 (December 1, 1994): 505–7. http://dx.doi.org/10.1093/nq/41-4-505.

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11

Wulstan, D. "Early English religious drama: Richard Rastall, Minstrels playing: music in early English religious drama." Early Music XXX, no. 4 (November 1, 2002): 620–21. http://dx.doi.org/10.1093/em/xxx.4.620.

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12

Slights, William W. E., and Shelley Woloshyn. "English Bess, English Pirates, English Drama: Feminism and Imperialism on the High Seas." Explorations in Renaissance Culture 33, no. 2 (December 2, 2007): 252–75. http://dx.doi.org/10.1163/23526963-90000341.

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13

Comensoli, Viviana, and David George. "Records of Early English Drama: Lancashire." Sixteenth Century Journal 24, no. 2 (1993): 453. http://dx.doi.org/10.2307/2541966.

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14

Ardolino, Frank, and Jack D'Amico. "The Moor in English Renaissance Drama." Sixteenth Century Journal 24, no. 3 (1993): 775. http://dx.doi.org/10.2307/2542179.

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15

Comensoli, Viviana, and Alan H. Nelson. "Records of Early English Drama: Cambridge." Sixteenth Century Journal 21, no. 4 (1990): 747. http://dx.doi.org/10.2307/2542246.

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16

Evans, Robert C., and Dale B. J. Randall. "Winter Fruit: English Drama, 1642-1660." Sixteenth Century Journal 28, no. 3 (1997): 1053. http://dx.doi.org/10.2307/2543114.

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17

Desens, Marliss, and Dale B. J. Randall. "Winter Fruit: English Drama 1642-1660." Rocky Mountain Review of Language and Literature 50, no. 2 (1996): 205. http://dx.doi.org/10.2307/1348246.

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18

Vander Motten, J. P. "Derek Hughes, English Drama 1660 - 1700." Documenta 15, no. 2 (May 12, 2019): 129–33. http://dx.doi.org/10.21825/doc.v15i2.11133.

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19

Levenson, Jill L., Peter Davison, and S. Gorley Putt. "Contrasting Approaches To Early English Drama." Shakespeare Quarterly 36, no. 3 (1985): 380. http://dx.doi.org/10.2307/2869729.

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20

Lancashire, Anne, and Sylvia Stoler Wagonheim. "Annals of English Drama 975-1700." Shakespeare Quarterly 42, no. 2 (1991): 225. http://dx.doi.org/10.2307/2870549.

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21

Shahane, Vasant A., and S. Krishna Bhatta. "Indian English Drama: A Critical Study." World Literature Today 62, no. 3 (1988): 509. http://dx.doi.org/10.2307/40144477.

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22

Haynes, Robert, and J. Alan B. Somerset. "Shropshire (Records of Early English Drama)." Sixteenth Century Journal 29, no. 1 (1998): 301. http://dx.doi.org/10.2307/2544506.

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23

Butler, Martin, and Dale B. J. Randall. "Winter Fruit: English Drama 1642-1660." Shakespeare Quarterly 49, no. 1 (1998): 93. http://dx.doi.org/10.2307/2902213.

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24

Gurr, Andrew, and J. Alan B. Somerset. "Records of Early English Drama: Shropshire." Modern Language Review 92, no. 2 (April 1997): 438. http://dx.doi.org/10.2307/3734840.

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25

Smith, M. Rick, and Cameron Louis. "Records of Early English Drama: Sussex." Sixteenth Century Journal 34, no. 2 (July 1, 2003): 601. http://dx.doi.org/10.2307/20061508.

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26

Cannan, Paul D. "English Drama, 1660-1700. Derek Hughes." Modern Philology 97, no. 1 (August 1999): 114–17. http://dx.doi.org/10.1086/492816.

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27

Davidson, Clifford. "Positional Symbolism and English Medieval Drama." Comparative Drama 25, no. 1 (1991): 66–76. http://dx.doi.org/10.1353/cdr.1991.0004.

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28

Davis, D. F. "Book Review: Drama in English Teaching." Australian Journal of Education 30, no. 3 (November 1986): 300–301. http://dx.doi.org/10.1177/000494418603000307.

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29

Lutzky, Ursula, and Jane Demmen. "Pray in Early Modern English drama." Journal of Historical Pragmatics 14, no. 2 (May 17, 2013): 263–84. http://dx.doi.org/10.1075/jhp.14.2.05lut.

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This study seeks to provide new insights into the development and use of pray in Early Modern English. The study is based on the sociopragmatically annotated Drama Corpus, which combines the drama text samples of three different Early Modern English corpora, comprising a total of 242,561 words from a time span of 1500 to 1760. We investigate the quantitative distribution of the different forms in which pray appears during this period, and the influence of the variables of social status and gender. The aim of the current study is consequently to shed more light on the sociopragmatic nature of pray forms, and to reach a more profound understanding of their use in the Early Modern English period.

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30

Diller, Hans-Jürgen. "Code-Switching in Medieval English Drama." Comparative Drama 31, no. 4 (1997): 506–37. http://dx.doi.org/10.1353/cdr.1997.0016.

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31

Godfrey, B. "Medieval English Drama: Performance and Spectatorship." English 59, no. 226 (March 31, 2010): 307–9. http://dx.doi.org/10.1093/english/efq008.

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32

Dow, Frances D. "Dangerous matter. English drama and politics." History of European Ideas 9, no. 6 (January 1988): 729–31. http://dx.doi.org/10.1016/0191-6599(88)90109-x.

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33

Masoumi-Moghaddam, Saman. "Using Drama and Drama Techniques to Teach English Conversations to English as A Foreign Language Learners." International Journal of Applied Linguistics and English Literature 7, no. 6 (November 1, 2018): 63. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.6p.63.

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The present study aimed to examine the ways in which drama and drama techniques and practices, as implemented in the English language classes and combined with pedagogical practices to teach and learn English conversation, can create the appropriate conditions that promote learning environments conducive for learning English conversations. The participants of this study were thirty undergraduate male and female students who had studied English at the secondary and high school levels at the public schools in Ardebil. They were classified into two groups including Control and Experimental groups. The two groups were administered a Test-Retest evaluation to measure the targeted language skills that was to be taught to them. In order to collect the necessary data, two modern plays were taught and rehearsed in classroom context and then a retest were administered after the practice of these two modern dramatic discourse in the classroom. The different data-collecting techniques were used for the current research were participant observation (direct and indirect), and interviews. After analysing the data the results showed that there was no significant improvement in English competence of the Control group but the Experimental group revealed a tremendous achievement in their abilities in English conversations through the use of dramatic discourse.

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34

Trousdale, Marion. "Charting History: Oxford's English Drama English Drama, 1586-1642: The Age of Shakespeare G. K. Hunter." Huntington Library Quarterly 64, no. 1/2 (January 2001): 237–44. http://dx.doi.org/10.2307/3817886.

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35

Namundjebo, Elizabeth, Jairos Kangira, and Elizabeth Morgan. "The role of drama in teaching English." JULACE: Journal of the University of Namibia Language Centre 3, no. 1 (December 31, 2018): 1–8. http://dx.doi.org/10.32642/julace.v3i1.1371.

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The purpose of this study was to explore the role of drama in teaching English to enhance students’ communicative skills at the University of Namibia. The discussions of the research focused on assessing the benefits of using drama in the teaching of English to increase students’ motivation and self-confidence, as well as to enhance their communicative skills. Research findings revealed the effectiveness of drama oriented English lessons to the benefits of students’ speaking skills, motivation, self-esteem and confidence in their abilities to communicate in English. In addition, the findings revealed that drama activities aided students develop a community and foster group cohesiveness, which helped in building students’ confidence when speaking English in front of their classmates. Moreover, the study results revealed that motivation is linked to self-confidence as the drama activities accorded students the opportunity to use the target language in real life situations.

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36

Moghadam, Saman M., and Reza Ghafarsamar. "Using Drama and Drama Techniques to Teach English Conversations to EFL Learners." Global Journal of Foreign Language Teaching 8, no. 2 (May 29, 2018): 92–101. http://dx.doi.org/10.18844/gjflt.v8i2.3319.

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The present study aimed to examine the ways in which drama and drama techniques and practices, as implemented in the English language classes and combined with pedagogical practices to teach and learn English conversation, can create the appropriate conditions that promote learning environments conducive for learning English conversations. The participants of this study were thirty undergraduate male and female students who had studied English at the secondary and high school levels at the public schools in Ardebil. They were classified into two groups including Control and Experimental groups. The two groups were administered a Test-Retest evaluation to measure the targeted language skills that was to be taught to them. In order to collect the necessary data, two modern plays were taught and rehearsed in classroom context and then a retest were administered after the practice of these two modern dramatic discourse in the classroom. The different data-collecting techniques were used for the current research were participant observation (direct and indirect), and interviews. After analysing the data the results showed that there was no significant improvement in English competence of the Control group but the Experimental group revealed a tremendous achievement in their abilities in English conversations through the use of dramatic discourse.

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37

Meredith, Peter, A. C. Cawley, Marion Jones, Peter F. McDonald, David Mills, Richard Beadle, and Pamela M. King. "The Revels History of Drama in English. Volume I: Medieval Drama." Modern Language Review 82, no. 3 (July 1987): 699. http://dx.doi.org/10.2307/3730435.

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38

Astington, John H., John D. Cox, and David Scott Kastan. "A New History of Early English Drama." Modern Language Review 94, no. 3 (July 1999): 786. http://dx.doi.org/10.2307/3737010.

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39

Comensoli, Viviana, and David N. Klausner. "Records of Early English Drama: Herefordshire/Worcestershire." Sixteenth Century Journal 23, no. 1 (1992): 138. http://dx.doi.org/10.2307/2542071.

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40

Aune, M. G., Jonathan Gil Harris, and Natasha Korda. "Staged Properties in Early Modern English Drama." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 529. http://dx.doi.org/10.2307/20476964.

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41

Boswell, Jackson C., and Yoshiko Kawachi. "Calendar of English Renaissance Drama 1558-1642." Shakespeare Quarterly 41, no. 1 (1990): 132. http://dx.doi.org/10.2307/2870812.

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42

Burroughs, Catherine, and Daniel P. Watkins. "A Materialist Critique of English Romantic Drama." South Central Review 12, no. 1 (1995): 70. http://dx.doi.org/10.2307/3189737.

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43

MacLean, Sally-Beth. "Records of Early English Drama: A Retrospective." Renaissance and Reformation 37, no. 4 (April 30, 2015): 235–51. http://dx.doi.org/10.33137/rr.v37i4.22649.

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The Records of Early English Drama, founded in 1976, remains a productive humanities research project, with thirty-three volumes in print and two open access research and educational websites to date. This retrospective essay reflects on the individuals who contributed to its founding and evolution; the establishment of systematic research and editorial principles for an international team of contributors; the challenges of funding a collaborative enterprise with long term goals; some of its key contributions to the field of theatre history; and the transition from a print-based series to REED Online, a multi-faceted digital enterprise. In summary, while the re-envisioning of REED as an interoperable research and educational online resource represents a major shift in editorial and publication processes, the core values of the project remain intact: to work together in interdisciplinary collaboration with like-minded partners to deliver the results of systematic research in early theatre to as wide an audience as possible in the twenty-first century. Le Records of Early English Drama, fondé en 1976, consiste toujours en un projet fructueux de recherche en sciences humaines, totalisant à ce jour 33 volumes imprimés et deux sites web ouverts de recherche et d’éducation. Cet article rétrospectif se penche sur les personnes ayant contribué à sa fondation et son évolution, l’établissement d’une systématique de recherche et de principes éditoriaux à l’intention d’une équipe internationale de contributeurs, les défis de financer un projet collectif avec des objectifs à long terme, quelques unes de ses principales contributions dans le domaine de l’histoire du théâtre, et la transition d’une publication imprimée vers le format REED Online, un projet numérique polyvalent. En effet, bien que la transformation du projet en une ressource collaborative REED de recherche et d’enseignement en ligne représente un changement majeur dans les processus éditoriaux et de publication, les valeurs centrales du projet demeurent inchangées : le projet vise toujours la collaboration interdisciplinaire avec des partenaires ayant la même approche afin d’obtenir des résultats de recherche systématique en histoire du théâtre, et à les rendre disponibles à un public aussi large que possible en ce vingt-et-unième siècle.

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44

Davidson, Clifford, John D. Cox, and David Scott Kastan. "A New History of Early English Drama." Sixteenth Century Journal 29, no. 1 (1998): 134. http://dx.doi.org/10.2307/2544419.

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45

Davidson, Clifford, Rosalind Conklin Hays, C. E. McGee, Sally L. Joyce, and Evelyn S. Newlyn. "Records of Early English Drama: Dorset, Cornwall." Sixteenth Century Journal 30, no. 4 (1999): 1165. http://dx.doi.org/10.2307/2544690.

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46

Jewett, William, and Daniel P. Watkins. "A Materialist Critique of English Romantic Drama." Studies in Romanticism 34, no. 2 (1995): 309. http://dx.doi.org/10.2307/25601120.

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47

Bratton, J. S., and John Russell Stephens. "The Censorship of English Drama 1824-1901." Yearbook of English Studies 15 (1985): 314. http://dx.doi.org/10.2307/3508604.

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48

Paul, J. Gavin. "English Renaissance Drama: The Imprints of Performance." Literature Compass 5, no. 3 (May 2008): 529–40. http://dx.doi.org/10.1111/j.1741-4113.2008.00538.x.

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49

Greenblatt, Stephen. "Paratexts in English Printed Drama to 1642." Common Knowledge 22, no. 2 (April 29, 2016): 316. http://dx.doi.org/10.1215/0961754x-3487920.

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50

Streete, Adrian. "Review: Approaches to Teaching English Renaissance Drama." Notes and Queries 52, no. 2 (June 1, 2005): 254–55. http://dx.doi.org/10.1093/notesj/gji261.

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