Academic literature on the topic 'Modern drama'

Abstract With the Lazarillo published anonymously in Spain in the 16th century, the romantic adventure changed paradigm and emancipated itself from the novels of chivalry. For Jean-Pierre Sarrazac, this picaresque novel brings a new voice to the theatre and modern drama that will evolve into a fundamental novelisation that will take off from 1880. This text was for a long time attributed to the humanist Diego Hurtado de Mendoza y Pacheco and the list of suspects is long akin to this “rhapsodic impulse” those multiple voices that each give a different interpretation to the same text, and that Jean-Pierre Sarrazac exhibits in his book Poétique du drame moderne, de Ibsen à Jean-Marie Koltès (2012). In this investigation of the Lazarillo, the modern drama, from the death of Hurtado in Madrid in 1575, will explore in substance and form the paradoxical question of drama in opening the doors of perception to fictional characters who are also gifted with life, if not our life, in a world where the true and the false mix while the opposing forces carry humanity towards a destiny worthy of Orwell’s 1984, but in the echo of the drama, the voice of the rhapsodes continues to resonate.

The article is to trace the heritage of Tamil and Assamese drama earliest times to present. The sub-genre of different periods is also discussed herewith. Earliest record of Tamil drama is available during Sangam period. In Assamese it is mentioned in the Sankaradev period. Sankardeva the father of Assamese literature and society maker had a great contribution to Assamese drama. ‘Chihno Jatra’ was the first drama of Assamese literature. To speed up his ‘Ek Saran’ religion he wrote many dramas as an instrument of it and his followers also followed him. In the end of the nineteenth century Tamil and Assamese drama underwent a change after its contact with western literature. Hence the Tamil drama can be divided into four periods. (1) Tolkappiyam to 16th century, (2) drama in the 17th,18th century, (3) 19th century, and (4) 20th century. Assamese drama can be classified as (1) Vaisavate period, (2) Ahom period, (3) modern period. Many authors wrote ancient, historical and modern dramas in both languages. All those dramas are taken as the very great wealth of Tamil and Assamese literature.

Raag, a folk term has used for Drama in ancient Brahui. In folk literature when the Brahui modern literature were not introduced the Term Raag were used for entertain. After establishment of Radio Station center at Quetta, the different parts of modern literature opened the windows for Brahui fiction. There is prominent writer which Mr. Ghulam Nabi Rahi has started firstly Brahui radio Drama, soon after the tradition of Brahui drama has spread all over the Balochistan. A compilation of his first period’s Drama known as Isto naa Bandagh. This research paper discussed and analyses the technique and tendency of Rahi’s Drama. Mostly his dramas have played from Radio and Television Quetta center after Sixties. Shaahbeg naa wataakh a very famous radio Drama, where the social problems were reflecting. A descriptive method has been used to complete this paper.

Resultado da Mesa Redonda “Perspectivas sobre o drama moderno no Brasil”, realizada no IX Congresso da ABRACE em 2016, o presente artigo apresenta uma síntese das ideias em torno do drama moderno no Brasil que embasam os projetos docentes de pesquisadores de três instituições diversas (UNICAMP, UFMG e UFSJ), aglutinados em torno do Grupo Estudos em Dramaturgia Letra e Ato. Tal artigo apresenta, portanto, três visadas sobre o drama moderno no Brasil que, sem precisarem constituir uma unidade, dialogam profundamente no contexto das pesquisas com o intuito de revisão teórica e historiográfica sobre o tema. Neste sentido, compartilhando de conceitos, teóricos, metodologias e objetos, as pesquisas, as individualidades investigativas vêm constituindo, num histórico, resultados coletivos de pesquisa sobre o tema que, conjuntamente, os pesquisadores vêm procurando organizar e divulgar em diferentes frentes e meios.
 
 ABSTRACT
 This paper has its origin in the round table “Perspectives about the modern Brazilian drama”, that took place in the IX ABRACE Congress in 2016. It presents a synthesis of some ideas about the modern drama in Brazil that lay their foundation in the research project of professors of three universities (UNICAMP, UFMG e UFSJ), connected by the research group: Group of Studies in Playwriting Letter and Act. This paper presents, therefore, three viewpoints about modern drama in Brazil that, without the purpose of forming a unique view, start a dialogue with the canonic history of Brazilian theater, in order to propose a theoretical review. In this sense, sharing concepts, theories, methodologies and objects, the individual researches have been composing collective results about the same thematic, that the three author are organizing in order to publish.
 
 
 KEYWORDS
 Teatro brasileiro moderno; dramaturgia moderna; cena moderna.