Academic literature on the topic 'Modern dramatic writing'
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Journal articles on the topic "Modern dramatic writing"
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Hiltunen, Turo. "Intensification in Eighteenth Century Medical Writing." Journal of English Linguistics 49, no. 1 (2021): 90–113. http://dx.doi.org/10.1177/0075424220982649.
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While intensifiers are primarily associated with informal spoken registers, they serve important interpersonal functions also in more formal registers like academic prose. The use of intensifiers in scientific writing has accordingly been explored in Present-Day English, and previous studies have also investigated diachronic changes in this register in Middle and Early Modern English. However, the Late Modern English period remains largely unexplored, despite the fact that at least in medical writing it represents an important transition period both intellectually and textually. To follow up on the trends and developments established in previous work, this paper explores the patterns of intensification in eighteenth century medical writing using Late Modern English Medical Texts (LMEMT; Taavitsainen et al. 2019), which contains a large collection of texts representing different areas of medicine. While the intensifiers that are selected for study are ubiquitous in the data, their frequency varies considerably between individual texts, and this variation is often linked to the characteristics of individual sub-registers. At the same time, the use of intensifiers in this period is characterized by stability rather than dramatic change, despite ongoing changes in the sociocultural context of medicine. Along with providing a detailed investigation of the frequency of the main intensifiers in different categories of medical writing of the period, the analysis describes their co-selection patterns with particular adjectives.
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Cilliers, L. "Aristoteles se siening van dramatiese spanning in die tragedie en die invloed daarvan op moderne dramateorie." Literator 13, no. 2 (1992): 27–40. http://dx.doi.org/10.4102/lit.v13i2.736.
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Aristotle’s remarks about dramatic suspense in the Poetics are so diffuse and divergent in nature that it seems highly unlikely that he meant them to be regarded as a systematic theory on this subject. Yet his views in this regard - although set down in writing some 2400 years ago - are still in many respects the basis of modern drama theory. The emphasis which he places on the linear plot and on causal connection is an early recognition of two very important requisites for unity in a drama. The phases in the course of action which he pointed out and on which scholars like Scaliger, Freytag and Verhagen have built their theories, are still accepted in broad outline today. The desirability of concentrated action and of the identification of the spectator with the dramatis personae are factors which are still valid. And finally, his discussion of the effect which tragedy has on the spectators is the point of departure of modern reader-oriented theories.
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Saxena, Ritu. "Girish Karnad : A Tribute." Dialogue: A Journal Devoted to Literary Appreciation 15, no. 1-2 (2019): 1–4. http://dx.doi.org/10.30949/dajdtla.v14i1-2.1.
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Girish Karnad is a writer, dramatist, director and actor par excellence. He belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay Tendulkar who have created a national theatre for modern India, which is the legacy of his generation. Jnanpitha Awardee, Karnad is the author of many well known plays in Kannada and English. He has represented Indian art and culture in foreign lands. Girish Karnad was a conscious writer, who had keenly observed cultural and political upheavals in India and brings in a new equation in his plays. In this paper, I propose to analyze the selected plays of Indian playwright Grirish Karnad who has experimented with the fusion of the traditional and the modern dramatic forms and content. Karnad is most famous as a playwright and his plays have become a byword for imagination, innovation and craftsmanship. In the subsequent years, Karnad continued to post script narratives, interpreting for us histories and myths, forging an idiom of writing that was tethered to both the past and present. Karnad's practice of drawing source from myths and tales lends the play an immediacy of appeal. This paper thus studies Karnad's selected plays from the point of view of themes and techniques. While doing so, the focus will mainly be on the history and myth in his dramatic works-Karnad's journey from his first drama 'Yayati holds a mirror to the very evolution of a truly 'Indian theatre.'
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Molinari, Cesare. "Actor-authors of the Commedia dell'arte: The Dramatic Writings of Flaminio Scala and Giambattista Andreini." Theatre Research International 23, no. 2 (1998): 142–51. http://dx.doi.org/10.1017/s0307883300018484.
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In 1880, the first modern editor to publish a collection of commedia dell'arte scenarios noted, not without surprise, that ‘the earliest professional actors were almost all writers as well’. ‘Almost all’ is perhaps an exaggeration. Yet the literary production of comic players, and particularly that of the second and third generation of actors, is impressive for its quantity as well as its variety. It ranges from Giovan Paolo Fabbri's Capitoli alla Carlona and Adriano Valerini's historically important essay on the beauties of Verona, to the Rime of Isabella Andreini, in which she established a dialectic connection between the art of writing and that of the theatre:If you will read one daymy neglected verses, don't be taken in bythese feigned ardoursI am used to playing in dramatic love sceneswith such insincere passionswith lying and mock expressions.I unfold the Muses' high furoressometimes weeping in false sorrowsometimes singing with false pleasure.
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Belkis, Özlem, and Yunus Emre Gümüş. "Examining usability of the six thinking hats technique in playwriting education: Turkey as a case study." Pegem Eğitim ve Öğretim Dergisi 10, no. 1 (2020): 147–68. http://dx.doi.org/10.14527/pegegog.2020.006.
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Efforts to define creativity have started in the 20th century, with the emergence and spread of psychology as a modern discipline. The relationship between creativity and art education is frequently researched globally in the last twenty years, but studies on the relationship between creativity and performing arts education are few in number. Researching the relationship between creativity and dramatic writing education in context of theoretical approaches and practical techniques could develop new ideas and practical tools to be used. The current study aims to examine the usability of the Six Thinking Hats Technique, which is a creative thinking practice, in playwriting education in Turkey. The method of the study is based on a review of available literature and a case study. First, the creativity concept and creative processes were examined; then the Six Thinking Hats Technique was adopted to be implemented in composing a play-text. The study groups consisted of eight sophomore dramatic writing students who have completed their third semester in a public university in Turkey. Lastly, the participant’s opinions were analyzed with a final test. The study concludes that the Six Thinking Hats Technique can be used in group studies, genre determination and final production in playwriting education in Turkey. This technique may also be used to develop new ideas and practice strategies in intra-class group activities during playwriting education.
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Naito, Satoko. "Anxieties of Authorship, Critique of Readership: Mishima Yukio’s Modern Noh Play Genji kuyō." Japanese Language and Literature 55, no. 2 (2021): 407–46. http://dx.doi.org/10.5195/jll.2021.186.
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Mishima Yukio's dramatic suicide half a century ago ensured that his name would forever be associated with a certain fanatic imperialism, and largely fulfilled his own wish that he would die as a military man. And yet, he was until the end foremost a literary artist, concerned with the critical reception of his written works and preoccupied with his lasting reputation as an author. This paper examines Mishima’s portrayal of the celebrity writer, as well as the potentials and limitations of literature as presented in his oft-neglected modern noh play Genji kuyō (Devotional offering for Genji, 1962). It positions the play within the long history of prayers for Genji monogatari (The Tale of Genji, ca. 1008) that began in the twelfth century in response to the perceived ambiguous morality of the author Murasaki Shikibu (d. ca. 1014). Mishima's Genji kuyō provides a pointed criticism of readers, as well as anxieties regarding a writer's life and literary recognition. Though Mishima himself famously disowned it after its initial publication, Genji kuyō offers critical insights regarding the writing and reading of literature.
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Mangold, Alex. "Failure, Trauma, and the Theatre of Negativity: the New Tragic in Contemporary Theatre and Performance." New Theatre Quarterly 35, no. 1 (2019): 33–43. http://dx.doi.org/10.1017/s0266464x18000593.
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In this article, Alex Mangold identifies failure as a defining element of tragedy and argues that traditional understandings of the genre have been too narrow. Here, he asserts that tragic failure contributes to a tragic ‘mode’ that transcends genre definitions and, instead, extends to all kinds of contemporary theatre and performance. Examining a wide range of performance examples, including work from Sophocles to Sarah Kane, Forced Entertainment, Sasha Waltz, and Orlan, he argues that tragic failure, as it has come to be realized in examples of postdramatic writing and in site-specific or dance-based performance, is presented as an option, a dramatic choice, an outcome or part of an overall denial of dramatic form. The true power of the new tragic consequently lies in its ability to foster social change and a more ethical stance toward social dystopias. Alex Mangold lectures in the Department of Modern Languages at Aberystwyth University. He is co-editor (with Broderick Chow) of Žižek and Performance (Palgrave, 2014) and has published articles and chapters on the work of Sarah Kane and Howard Barker.
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Čengić, Almedina. "ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS." Knowledge International Journal 28, no. 7 (2018): 2361–65. http://dx.doi.org/10.35120/kij28072361a.
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The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.
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محمد ساجد الحق. "الشعر المسرحي في الأدب العربي: دراسة تحيلية (Dramatic Poetry in Arabic Literature: An Analytical Study)". Journal of Islam in Asia (E-ISSN: 2289-8077) 16, № 2 (2019): 1–34. http://dx.doi.org/10.31436/jia.v16i2.814.
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الشعر المسرحي جزء مهم للأدب العربي وإضافة جديدة في الشعر العربي، وقد عرف الأدب العربي هذا اللون الشعري في العصر الحديث حيث اتجه الناس إليه لأشعاره الموسيقية وعاطفته العميقة، وكانت المحاولة الأولى للشعر المسرحي في الأدب العربي على يد خليل اليازجي، اشهر من قام في هذا المجال هو الشاعر المصري أحمد شوقي، فهو الذي سعى سعيا بالغا لتنمية هذا الفن الرائع وفكر فكرا واسعا في تطوره؛ حيث اشتهر هذا الفن واتسع بمسرحياته الشعرية، وفي الحقيقة كان الشعر المسرحي في الأدب العربي مجهولا حتى أظهره شوقي بين الناس، فيقال له أبو الشعر المسرحي في الأدب العربي، ويعتبره الأدباء والنقاد رائد هذا الفن. واستمرت هذه المحاولات بعد شوقي فتقدم جماعة كبيرة من شعراء بلاد العرب إلى هذا الميدان في العصر الحديث الذين قلدوا شوقي في المواضيع والأساليب واتخذوه إماما لهذا الفن؛ أشهرهم عزيز أباظة وعلي أحمد باكثير وصلاح عبد الصبور، ثم تطور بعد ذلك تطورا تاما حتى وصل إلى مرحلة النضخ والكمال، وتمكن في مكان ممتاز في الأدب العربي للعصر الحديث.
 الكلمات المفتاحية: الشعر المسرحي، تطور المسرح الشعري، الأدب العربي، ريادة الشعر المسرحي، أحمد شوقي.
 Abstract
 Dramatic poetry is an important part of Arabic literature and it is a new contribution to Arabic poetry. Arab people knew this kind of poetry in the modern era, in which they head towards it since it gives them musical rhythm and deep passion of poetry. The first attempt of dramatic poetry in Arabic literature was made by Khalil al-Yaziji, meanwhile the most famous poet in this field is the Egyptian poet, Ahmed Shawqi, who made a great effort to develop dramatic poetry. In fact, it was unknown until Shawqi came and showed it to Arab people. Hence, this kind of poetry achieved much popularity among Arab people and Shawqi has been regarded as the father of dramatic poetry as well. Apart from that, the writers and critics also assumed him as the pioneer of this kind of poetry because of his great contribution. These attempts continued after Shawqi, in which there were large numbers of contemporary Arab poets who came to this field and imitated the styles and methods of Shawqi in writing dramatic poetry. Among the most famous people were Aziz Abaza, Ali Ahmed Bakthir and Salah Abdul Sabour. Then, this kind of poetry develops completely until it reached an advanced stage of artistic maturity; therefore, it managed to have an excellent position in modern Arabic literature. 
 Keywords: Dramatic poetry, Development of poetical drama, Arabic literature, Pioneer of dramatic poetry, Ahmed Shawqi.
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Heaton, Roger. "Klangforum Wien, Wien Modern, Wiener Konzerthaus, 13 November 2019." Tempo 74, no. 292 (2020): 82–83. http://dx.doi.org/10.1017/s0040298219001281.
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The thirty-second Wien Modern was an extraordinary month-long festival of concerts and events with almost 90 world and Austrian premieres. The excellent Klangforum Wien programme at the Wiener Konzerthaus, conducted by Bas Wiegers, was well attended by an enthusiastic and mostly young-ish audience, where the focus was two first performances for large ensemble: Klaus Lang's linea mundi and Mirela Ivičević's Sweet Dreams. The evening was, in fact, billed as being ‘in honour’ of Ivičević who had won the Erste Bank Composition Prize 2019 with this piece. Ivičević is a Croatian composer now living in Vienna and her work shows an involvement with big themes: politics, diversity and violence, among others. Apart from concert pieces she works with different media and takes by-products of popular trash culture often as a starting point for her work. In interviews she has talked about the ‘subversive potency of sound’, and said that her work is ‘raw, imperfect, unpolished’, which this piece, and other recent examples you can hear on YouTube, demonstrate, despite her quite rigorous musical education in Zagreb and Vienna. Sweet Dreams is a lively, noisy, busy piece about the rapid change between sleep and waking states. The large ensemble, including harmonium, electric guitar and harp, opens with monumental repeated sections, dramatic but with a sense of direction toward slow, strong, pedal entries. Rough punctuation from alto saxophone, bass clarinet and trumpet adds to the ‘rawness’ but the writing is assured with a particular, individual imagination and sense of colour that bodes well for future work.
Dissertations / Theses on the topic "Modern dramatic writing"
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Kane, Eilidh Ewart. "Rethinking Middleton's collaborations : making meaning in early modern texts." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5127/.
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Thomas Middleton’s work as a playwright and pamphleteer was highly collaborative: from 1601 to 1627 he wrote with at least ten of his contemporaries including Dekker, Jonson and Shakespeare. However, Middleton’s texts are even more collaborative than these writing partnerships would suggest. This thesis defines collaboration as the act of sharing in the process of making meaning, and so proposes that Middleton’s collaborators included not only his many co-writers but also performers, printers and editors. Middleton’s partnership with Thomas Dekker, the three plays and two pamphlets they co-wrote together, are the starting point from which I explore early modern collaboration. Since these texts have survived only in print form, the best information available about the creative processes that generated them is archival sources and the evidence provided by attribution studies. Yet there are two potential problems with the use of attribution evidence. First, because attribution involves assigning parts of texts to writers, it can imply that co-written texts were always singly authored in separate sections then pieced together. Secondly, attribution’s concern with tracking the presence of authors can suggest that non-authorial contributions to a text are not worthwhile. This thesis challenges both of these assumptions. To resolve the tension between valuable evidence provided by attribution studies and their misrepresentation (as I see it) of collaboration, this thesis takes as its starting point those poststructuralist theories which call for a decentred conception of the author. Co-writing can then be understood as an essential aspect of how meaning in a text is made but not the only significant aspect. My thesis reframes attribution evidence in light of this idea and uses it to gain insight into how and why Middleton and Dekker wrote together, rather than to discover ‘who wrote what’. I argue that Middleton began writing with the more experienced Dekker to hone his craft and that their process changed as Middleton became more practised. Taking this approach to attribution scholarship means that I can investigate co-writing without devaluing non-authorial collaboration: Middleton and Dekker’s co-writing is presented alongside the collaborative acts of those who performed, printed and edited their texts. By applying the idea of a decentred author to attribution evidence, this thesis offers an original way to approach early modern collaboration: one which analyses co-writing whilst recognising it as part of a larger network of collaborative acts.
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Almond, Clare Louise. "Rehearsing modern tragedy : a Benjaminian interpretation of drama and the dramatic in Samuel Taylor Coleridge's writings." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2540.
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This thesis offers a reappraisal of Samuel Taylor Coleridge’s dramatic theory and writing. Although critical interest in Coleridge’s dramatic work is relatively small in comparison to other areas, it is increasing. A central aim of the thesis is to add to this field of criticism by suggesting a greater significance of the dramatic in Coleridge’s oeuvre. This is an area of Coleridge’s work that can be illuminated by way of its interpretation using Walter Benjamin’s reassessment of dramatic genres in The Origin of German Tragic Drama. A key assumption of the thesis is that Coleridge’s dramatic work extends beyond the parameters of his activity as a playwright. It therefore positions key moments of his critical theory and poetic writing as dramatic. In viewing selected works in this way, a greater coincidence between Coleridge and Benjamin’s work emerges most significantly through their shared themes of truthful representation and correct interpretation. A short introduction highlights common themes between Coleridge and Benjamin and proposes a view of the two writers that follows Benjamin’s concept of the ‘constellation’. Chapter One draws together key critical interest in Romantic drama. It also aims to connect Coleridge’s dramatic theory and works with key themes in On German Tragic Drama. Chapter Two explores Coleridge’s dramatic theory in his Lectures before 1812 and offers a reading of the ‘Critique of Bertram’ that seeks to reassert the importance of this piece. Chapter Three aims to reveal a dramatic current running through ‘The Eolian Harp’ and The Rime of the Ancient Mariner. The thesis culminates, in Chapter Four, with a reading of Remorse informed by Benjamin’s critical model of the Trauerspiel in The Origin of German Tragic Drama. In conclusion, the thesis offers up aspects of Coleridge’s works that can be termed as dramatic so as to reveal their anticipation of a Benjaminian modernity. In this sense, it proposes that drama should be accorded more significance within Coleridge’s oeuvre as it reveals a better understanding of some of his lesser known material and highlights some of his most original thinking.
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Fréri, Nathalie. "La place et le rôle de l'auteur dans le théâtre d'aujourd'hui : essai d'analyse socio-littéraire." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30065.
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Si le théâtre est le lieu de l’élaboration de la langue où le poète a naturellement sa place, force est de constater que l’auteur dramatique des années deux mille peine paradoxalement à trouver sa place dans le théâtre et la société de son temps. Confrontés à la frilosité institutionnelle, à la méfiance des publics et à une méconnaissance généralisée, les auteurs dramatiques actuels tentent de faire entendre leur voix et n’hésitent pas à revendiquer leurs droits auprès des instances publiques. Ce travail se propose de porter un regard actuel et transversal sur la place et la fonction de l’auteur dramatique, en le posant comme une entité humaine qui évolue dans un milieu artistique et social concret. Après avoir retracé le parcours de la figure de l’auteur et l’évolution de la conception du texte dramatique dans l’histoire du théâtre, notre principal intérêt portera sur les différents aspects qui composent aujourd’hui l’identité de l’auteur, qui définissent son profil socioculturel et qui déterminent sa place dans le théâtre. Nous nous pencherons tout d’abord sur l’image actuelle de l’auteur qui se présente comme un artiste combatif et comme un médiateur averti proche du public avant d’aborder la question de son statut professionnel. Nous nous focaliserons par la suite sur le phénomène récent du regroupement des auteurs dramatiques en collectif. L’étude de la place concrète et physique qu’occupe aujourd’hui l’auteur dans l’entreprise théâtrale, et surtout l’analyse des principaux modes de son intégration (direction-association) et des rapports qu’il entretient avec les autres partenaires de la création (metteur en scène, acteur, public) nous permettront de mesurer les avantages et les limites de sa présence au sein du théâtre. De même, la représentation de ses oeuvres dans le système théâtral subventionné, dans le théâtre privé et les compagnies amateurs, l’observation des structures, associations, festivals et manifestations divers qui mettent l’auteur de théâtre au centre de leur projet et enfin l’étude des différents moyens de diffusion et de valorisation (commandes, résidences, ateliers, comités de lecture) des écritures théâtrales contemporaines complèteront cette recherche. Dans un souci de dépasser le seul cadre théâtral, nous aborderons également la place qu’occupe actuellement l’auteur de théâtre dans l’espace médiatique, éditorial et scolaire. Enfin, l’exploration du geste d’écriture et l’analyse du processus de création des auteurs dramatiques, suivies par un aperçu des principales tendances esthétiques et formelles qui caractérisent les écritures contemporaines, offriront un nouveau regard sur la façon dont les auteurs conçoivent leur art et sur les moyens qu’ils déploient pour contribuer au renouvellement de l’écriture dramatique<br>If the theatre is a place where a language in which the poet naturally belongs is created, we cannot avoid noting that the dramatist of the 2000's, paradoxically, is finding it hard to locate his place in the theatre and in the society of his time. Faced with institutional lukewarm support, with a distrusting public and a general lack of understanding of their role, the dramatists of today are trying to make their voices heard, and do not hesitate to demand that public bodies support their rights. This work proposes to concentrate on a cross-disciplinary examination of the place and function of the dramatist. It will do this by positing that he is a human entity that is evolving within a concrete artistic and social milieu. After tracing the trajectory of the authorial figure and the evolution of the concept of the dramatist in the history of the theatre, we will concentrate on the various aspects that today make up the identity of the author, that define his sociocultural profile, and that determine his place within the theatre. We will initially focus on the current image of the author seen as a combative artist and as an enlightened mediating figure who is close to his public. Then we will take on the question of the author's professional status. We will then concentrate on the recent phenomenon which presents dramatists as a collective group. The study of the concrete and physical place occupied today by authors in the theatre, and above all the analysis of the principal modes by which the author is integrated (directing-associating) and of the relationships he has with his partners in theatrical creativity (director, actor, public), these will allow us to measure the advantages and limits of his presence within the theatre. Likewise, the representation of his works in the context of subsidized theatre, in the context of private theatre and of amateur companies, the observance of the structures, associations, festivals and other demonstrations that put the dramatist at the centre of their projects, and finally the study of the different ways to propagate and valorize theatrical writing (command performances, resident artists, play reading committees, writing workshops), these will complete this research project. Given our determination to go beyond the world of theatre, we will also examine the current place occupied by the dramatist as a mediating, editorial and scholarly force. Finally, the study of the writing and the analysis of the creative processes of dramatists, followed by an overview of the esthetic and formal tendencies that characterize modern writing, will offer a new way of looking at the way in which authors view their art and will offer a new perspective on the ways in which they contribute to the renewal of dramatic writing
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Livanis, Solange. "Du récit concentrationnaire à la scène chez Iakovos Kambanellis : raconter et représenter Mauthausen." Thesis, Lille 3, 2018. http://www.theses.fr/2018LIL3H007/document.
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L’auteur dramatique grec Iakovos Kambanellis a connu l’expérience du camp de concentration et en a tiré, vingt ans plus tard, sa seule œuvre narrative, Mauthausen. Prenant ce récit pour pivot, notre recherche interroge les liens qui existent entre une écriture née de l’expérience concentrationnaire et le théâtre chez cet auteur. Pour cela, nous replaçons le texte narratif dans une perspective autobiographique pour la dépasser en rattachant Mauthausen à la littérature concentrationnaire et pour y déceler le dispositif scénique d’un tombeau littéraire. Puis, nous étudions les enjeux thématiques et idéologiques de l’écriture du dramaturge en lien avec son expérience traumatique. Nous nous penchons alors sur des pièces à relier au trauma de l’homme revenu du camp dans un pays livré à la guerre civile. Des motifs et des thèmes de la littérature concentrationnaire sont mis en évidence dans plusieurs pièces. En outre, la figure d’Ulysse, récurrente dans le théâtre de Kambanellis, apparaît comme symbolique de l’identité du rescapé. Enfin, nous observons la façon dont se résolvent les tensions entre diégèse et mimèsis pour se transformer en dynamique littéraire. Ainsi, sont étudiés les statuts du narrateur et du personnage ainsi que l’inscription de ces entités dans un espace fondateur réel/imaginaire où l’emploi du mythe transfigure l’expérience concentrationnaire et lui donne sa dimension politique. Nous revenons aussi sur la notion d’illusion chez Kambanellis qui, finalement, a consacré son talent au jeu et au mystère de l’imaginaire, de l’ὑποτίθεται, dont nous considérons qu’il renvoie en partie à son expérience concentrationnaire<br>A Greek playwright, Iakovos Kambanellis drew on his personal experience of the concentration camp to write, two decades later, his only narrative work, Mauthausen. Taking this work as a central point, our research questions the links existing between a text born of the concentrationary experience and the theatre of this author. Our choice is to frame the narrative in an autobiographical perspective, allowing us to explore and connect Mauthausen to the genre of “littérature concentrationnaire” (concentrationary literature) and reveal the stage setting of a “tombeau littéraire” (literary funeral monument). Next we examine the thematic and ideological challenges of the author’s writing as related to his traumatic experience. We review the plays which can be linked to the trauma of a man returning from the camp to a country in the throes of civil war. Motifs and themes of the “littérature concentrationnaire” are revealed in several plays. Ulysses, a recurrent figure in the theatrical writing of Kambanellis, appears to symbolize the survivor’s identity. Finally, we observe how the tensions between diegesis and mimesis achieve a dynamic resolution. The positions of narrator and character are examined and inscribed in a real/imaginary world in which the use of the myth transfigures the concentrationary experience and invests it with its political dimension. We review also Kambanellis’s notion of illusion, and how he devoted his talent to the interplay and to the mystery of the imaginary, of the ὑποτίθεται, which refers in our opinion in part to his concentrationary experience
Books on the topic "Modern dramatic writing"
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Women, writing, and the theater in the early modern period: The plays of Aphra Behn and Suzanne Centlivre. Fairleigh Dickinson University Press, 2001.
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Rokison, Abigail. Shakespeare’s Dramatic Verse Line. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0024.
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Using examples from Shakespeare’s early, middle, and late plays and from his Tragedies, Comedies, and Histories, this chapter charts developments and explores patterns in Shakespeare’s dramatic verse line across the genres and time span of his writing career. It examines incidences of end-stopping and enjambment, mid-line breaks, shared, short, and long verse lines, considering the ways in which these relate to the subject matter of scenes and may function as a means of reflecting a character’s emotional or mental state. The chapter draws on evidence from Renaissance prosodic accounts, printed texts, theatrical papers, and evidence relating to early modern theatre practice and considers the ways in which the features of the dramatic line are interpreted by modern theatre practitioners.
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Ward, Ian. The Play of Law in Modern British Theatre. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474450140.001.0001.
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The Play of Law in Modern British Theatre investigates the place and purpose of law in a range of modern dramatic settings and writings. Each chapter, which focusses on a particular area of law and the work of a particular playwright, illustrates the important role of theatre in articulating legal and political issues to a modern audience. The encompassing aspiration of The Play of Law in Modern British Theatre introduces the reader to a variety of genres in modern dramatic writing. From the ‘state of the nation’ plays of the 1980s and 1990s, to ‘verbatim’ and modern historical drama, to the calculated violence of ‘in-yer-face’, and associated expressions of radical and feminist theatre. Amongst those playwrights whose work is considered are David Hare, Richard Norton-Taylor, Caryl Churchill, Howard Brenton, Mike Bartlett, Sarah Kane, Bryony Lavery and Evan Placey. Along the way the reader is introduced to an equally wide range of areas of political and legal debate; from constitutional reform, to the present state of international law, to a variety of familiar controversies in associated areas of law, society, and gender.
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Bourne, Claire M. L. Typographies of Performance in Early Modern England. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198848790.001.0001.
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Typographies of Performance is the first book-length study of early modern English playbook typography. It tells a new history of drama from the period by considering the page designs of plays by Shakespeare and others printed between the end of the fourteenth century and the beginning of the eighteenth century. It argues that typography, broadly conceived, was used creatively by printers, publishers, playwrights, and other agents of the book trade to make the effects of theatricality—from the most basic (textually articulating a change in speaker) to the more complex (registering the kinesis of bodies on stage)—intelligible on the page. The coalescence of these experiments into a uniquely dramatic typography that was constantly responsive to performance effects made it possible for “plays” to be marketed, collected, and read in the sixteenth and seventeenth centuries as a print genre distinct from all other genres of imaginative writing. It has been said, “If a play is a book, it is not a play.” Typographies of Performance shows that “play” and “book” were, in fact, mutually constitutive: it was the very bookishness of plays printed in early modern England that allowed them to be recognized by their earliest readers as plays in the first place.
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Fraunhofer, Hedwig. Biopolitics, Materiality and Meaning in Modern European Drama. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467438.001.0001.
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Mapping the -- not always chronological -- trajectory from representationalist-naturalist theatre (Strindberg, Sartre) to the theatre of the historical avant-garde (Brecht, Artaud), this book puts milestones of modernist theatre in conversation with new materialist, posthumanist philosophy and affect theory. Arguing that existing modernization theories have been unnecessarily one-sided, Biopolitics, Materiality and Meaning in Modern European Drama offers a rewriting of modernity that cuts across binary methodologies – nature and culture, mind and matter, epistemology and ontology, critique and affirmative writing, dramatic and postdramatic theatre. Going beyond the exclusive focus on questions of identity, representation and meaning on the one hand or materiality on the other hand, the book captures the complex material-discursive forces that have shaped modernity and modern theatre. In powerfully prescient readings of modern anxiety, contagion and performance, the volume specifically reworks the biopolitical, immunitarian exclusions that mark Western epistemology leading up to and beyond modernity’s totalitarian crisis point. The book reveals the performativity of theatre in its double sense -- as theatrical production and as the intra-activity of an open and dynamic system of relations between multiple human and more-than-human actants, energies, and affects. In modern theatre, public and private, human and more-than-human, materiality and meaning co-productively collapse in a common life.
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Hodgkins, Christopher. Settlers in New Worlds. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.31.
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Early modern colonial survival meant that imaginative writings about settlers in new worlds outnumbered imaginative writings by those settlers; yet new world settlers did leave literary artefacts of their interpretive communities. Writing about new worlds tended to fire the fancy, either in fantastic exploration narratives, fabulous colonial prospecti, reflective essays, or in the more outright fictions of dramatic and utopian literature, and of lyric and epic poetry. Writing in and from new worlds was often more quotidian, with nonfiction prose genres like ships’ logs, company reports, personal letters, spiritual diaries, and sermons predominating with a sprinkling of original poetry, proverb, and song. Old genres were modified, and new ones born, by necessity and invention: not only the traveller’s tale and ‘utopian’ fiction, but also the conquest story, the atrocity exposé, the settlers’ covenant, the captivity and conversion narrative, and the extended Eucharistic meditation and puritan jeremiad—and the novel.
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Melville, Herman. The Condensed Moby Dick: Abridged for the Modern Reader. CreateSpace Independent Publishing Platform, 2012.
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Hoxby, Blair. Passions. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.29.
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This chapter examines the theory of the passions in relation to early modern theatre. It first considers the reception of Aristotle’sPoeticsand particularly how the writings of ancient critics located the essence of tragedy in the passions that it imitated and aroused. It then turns to John Dryden and John Milton, who both regarded the passions, not ‘character’, as the most important objects of imitation, and reconstructs a critical and poetic world in which the ‘personation’ of passion was thought to be essential to the formal capacities of theatre and the source of the profound collective experiences it made possible. It also explores the passions in dramatic poetry and on stage, along with the emergence of character as a more important unit of dramatic meaning than passion. The chapter concludes by suggesting that William Shakespeare also sought to represent and sway the passions, and therefore did not lie outside the mainstream of early modern theatre.
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Mindtravelling And Voyage Drama In Early Modern England. Palgrave MacMillan, 2013.
Find full textBook chapters on the topic "Modern dramatic writing"
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Höfler, Günther A. "Aposiopesen und Ellipsen." In Bewegungsszenarien der Moderne. Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-4.
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The article examines the rhetorical devices of aposiopesis (broken-off speech) and ellipsis (omission of words) in dramatic texts of the »Sturm und Drang« movement as well as in examples of 21st-century drama. The main focus is on what is spoken in the mode of ›silent language‹. The analysis of 18th-century dramatic texts (Lenz and Goethe) draws on the anthropological and poetological writings of the time, which show that the presence of the unspeakable in dramatic language is primarily a matter of the »excitation of the soul« (Herder). In contemporary drama, on the other hand, no generalisable function for the abruption of speech or the effect of standing still can be determined; the lack of movement in these dramatic texts serves to highlight alienated human relationships (Thomas Arzt) and displays existential dissolutions of meaning (Ewald Palmetshofer).
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Hoek, Liorah. "Tools for Shaping Stories? Visual Plot Models in a Sample of Anglo-American Advice Handbooks." In New Directions in Book History. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_7.
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AbstractThis chapter examines the “storyology” in writing manuals, focusing on the verbal and the visual plot models in a corpus of sixteen mainstream creative writing handbooks on plot, novels, and screenplays, still in use today. We will focus on the prevalence of dramatic writing and the predominance of the “Mountain Model,” a model which combines earlier linear models, such as the “three-act structure,” “Field’s paradigm,” “Fichtean Curve,” “Freytag’s Pyramid,” and the polar model, built on the alternation of good and bad fortune, along with Joseph Campbell’s “Hero’s Journey.” The Mountain Model visualizes a concept of writing particularly suited for stories capable of being resolved within a limited time frame, combining the perspectives of protagonist and reader. While this model is usually presented as ideal and universal, changing the representation from a linear to a topographical model alters the kinds of plots which can be imagined.
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Gieskes, Ed. "“Materia conveniente modis”: Early Modern Dramatic Adaptations of Ovid." In Ovid and Adaptation in Early Modern English Theatre. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474430067.003.0014.
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This chapter takes up various modes of Ovidian adaptation. The poet and his poems operate not only as sources for later works but also as models for structure. The essay looks at the way that Jonson’s play about writing — Poetaster — uses Ovid as a character while also considering his poetic legacy by using a slight revision of Marlowe’s translation of Amores 1.15 to stand in for the Ovidian poetic corpus. Ovid works as both a source and a problem in the play. In Shakespeare’s Winter’s Tale, Ovid is an important presence but more as a source of structure than of content. I argue that the way the play defers narrative has much to do with Ovidian techniques of narrative deferral that produce a desire to hear the deferred tale. In both cases, Ovid gets adapted in ways that go beyond retelling stories from the Metamorphoses.
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Hampton, Timothy. "Distinguished Visitors." In Cultures of Diplomacy and Literary Writing in the Early Modern World. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198835691.003.0002.
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Chapter 2 begins with the Turkish ambassador’s visit to the ambitious but foolish bourgeois Monsieur Jourdain in Molière’s 1670 play Le Bourgeois Gentilhomme, triggering both its denouement and a generic shift from comedic drama to musical ballet. The readings of Shakespeare’s Henry VIII and Calderón’s Constant Prince that follow explore the intersection between the plot motif in which a domestic location or closed space is intruded upon by a diplomatic figure, and the generic multiplicity of early modern drama. It argues that such spatial and generic transitions mediate the tension between domestic, national, and international spaces posed by an increasingly international political culture. Dramatic texts register the intrusiveness of the diplomatic outsider through moments of generic multiplicity, where pastoral interrupts historical tragedy or where Moorish romance intersects with the literature of martyrdom. Drama continually asks us to reflect on the constitution of space, and of who is ‘inside’ or ‘outside’ of a particular community. When established spatial and generic boundaries are transgressed those politics are especially legible: at the centre of European dramatic literature is a confrontational politics worked out at the level of form. Finally the chapter examines the modern novel, in which early modern tensions between international and national political spaces are reworked as a contrast between some larger political world and the discrete private space of the home. For Proust, the nostalgia-laden figure of the diplomat brings into that private space from his early modern past the very possibility of literature.
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Malcolm, William K. "Life and Background." In Lewis Grassic Gibbon. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620627.003.0001.
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This foundational chapter presents Mitchell’s writing as a barometer of the times that he inhabited. It sets out the book’s biographical and critical aims to examine the precise nature of the author’s literary achievement against the dramatic geopolitical background of the early decades of the twentieth century. Drawing authoritatively upon original sources, Mitchell’s short life is summarised as a triumph of innate talent over the social hardship and cultural poverty of his upbringing, from his origins in peasant society to service in the army and the airforce, thereafter moving to city life in Scotland and London, before finally settling in Welwyn Garden City. Mitchell’s personal experience of many of the key developments of the modern world, in country and city, at home and abroad, in wartime and peacetime, is shown to have shaped his personal ideology – particularly his left-wing radicalisation. The two central planks of his greatest writing, his love of nature and his fierce social commitment, are traced to his peasant upbringing as son to a poor Aberdeenshire crofter. His literary corpus is presented as a knowing response to the zeitgeist of the inter-war years, as a renunciation of outmoded Victorian modes and an embracing of the new.
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Marshall, Hallie. "The Early Years at the National Theatre: Harrison’s Molière and Racine." In New Light on Tony Harrison. British Academy, 2019. http://dx.doi.org/10.5871/bacad/9780197266519.003.0009.
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While Tony Harrison’s career as a poet was perhaps inevitable by the early 1970s with the publication of his award winning volume The Loiners (1970), this chapter argues that it was not a given that a significant portion of Harrison’s poetic output would be for the stage, nor that the British Theatre would readily welcome a contemporary poet writing verse plays. I argue that Harrison’s career in the theatre was fostered by his early commissions from the National Theatre and the collaborators he worked with in those early years, especially director John Dexter. Their work together on Harrison’s translations/adaptations of two seventeenth-century French plays—Molière’s Le Misanthrope (1666) and Racine’s Phèdre (1677), staged as The Misanthrope (1973) and Phaedra Britannica (1975)—allowed Harrison to bring to bear on his theatrical translations for the modern stage the ideas that he had been exploring in his doctoral thesis on Vergil and translation. Moreover, the close involvement of Harrison from commission to production served to reinforce his belief that writing for the stage and the page are very different things, with theatrical texts needing to facilitate a three dimensional performance. This would shape the nature of Harrison’s dramatic verse for decades to come. The success of The Misanthrope, which critics praised for the brilliance of its translation, was essential in establishing the claim of contemporary poets to a place on the modern British stage.
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Golphin, Peter. "Louis MacNeice and ‘The Paragons of Hellas’: Ancient Greece as Radio Propaganda." In Ancient Greece on British Television. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.003.0003.
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With television shut down for the duration of World War II, BBC radio became an essential medium for the transmission of information and propaganda. This chapter surveys the wartime radio features of the poet and scriptwriter-producer, Louis MacNeice, analysing a series of broadcasts (including The March of the 10,000, The Four Freedoms and The Sacred Band) designed to maintain public awareness of and sympathy for the plight of Nazi-occupied Greece. MacNeice develops themes and incidents drawn from the country’s ancient history which are analogous to the contemporary situation. The ironic phrase ‘paragons of Hellas’, from his long poem Autumn Journal (1939), implies a scepticism over the use of ancient allusions. Even so, drawing important parallels in his radio-dramatic writing between the famed glories of Greece’s ancient civilisation – including Xenophon, Periclean democracy, the Sacred Band, and the military victories at Salamis, Thermopylae, Chaeronea – MacNeice seeks to underline ancient echoes of the resistance and resilience modern Greeks were finding was necessary in attempts to withstand Nazi brutality.
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Saint-Amand, Pierre. "The Surprises of Laziness." In The Pursuit of Laziness, translated by Jennifer Curtiss Gage. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691149271.003.0002.
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This chapter discusses how Pierre Carlet de Marivaux repeatedly mentions laziness as a private dream. Marivaux's laziness is intimately linked to writing, to its constant renegotiation of the future. The chapter examines Marivaux as a journalist, in writings that could well be described as youthful efforts, produced in the interval between his dramatic publications and his law degree. It becomes apparent that the modernity broached by Marivaux is not confined to the aesthetic sphere; it is clearly epistemological. Marivaux's periodical inaugurates a model of philosophical writing in which the author separates himself from Cartesian thought and its mechanical physics. At the dawn of the Enlightenment, proclaiming his modernity, Marivaux refuses systematic and methodical rationality; he proposes instead a sensory cogito, attentive to the real and subjected to the aleatory.
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Pourciau, Sarah M. "Wagner’s Poetry of the Spheres." In The Writing of Spirit. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823275625.003.0005.
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Chapter Four moves beyond the boundaries of the comparative linguistic tradition to explore Richard Wagner’s extraordinarily influential, poetico-musical “realization” of the philological fantasy about Germanic verse origins, as described in Chapter Three. This chapter argues that Wagner’s dramatic project in the Ring cycle, which was inspired by his intense engagement with the language theories of Jacob Grimm, must be understood as an attempt to harness the rhythms of ancient alliterative verse to an all-encompassing, neo-Pythagorean model of cosmic-acoustic accord, such that the meter of his own, mid-19<sup>th</sup> century alliterations—when united with the harmonic modulations of his music—merges with the “meter” of the world spirit progressing through history.
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Schramm, Jan-Melissa. "Conclusion." In Censorship and the Representation of the Sacred in Nineteenth-Century England. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198826064.003.0007.
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This chapter suggests that all the works discussed in this study—both canonical and minor, composed in verse or in prose—ask profound questions about the nature of the tragic mode and its relation to Christian thought. The nineteenth-century dramatic imagination is deeply political, staging memorable protests against the rhetoric of utilitarianism in political economy, Calvinism in religion, and the unjustifiable sacrifice of the one for the welfare of the many in ethics and anthropology. In contradistinction to the many studies which sideline dramatic writing in the long nineteenth century, this chapter concludes that dramatic form retains its value in this period as a significant vehicle for comment upon far-reaching questions of justice and ethics. Ultimately, theology raised too many important questions to be permanently excluded from the public stage—and the theatre was too valuable a forum to ignore religious experience.
Conference papers on the topic "Modern dramatic writing"
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Zeng, Qinghua, and Fu-Ying Huang. "Friction Effect on Loading Process and Multiple Stable Flying States of Air Bearing Sliders." In World Tribology Congress III. ASMEDC, 2005. http://dx.doi.org/10.1115/wtc2005-64313.
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One reason to use load/unload (L/UL) technology in hard disk drives is to avoid friction and stiction between sliders and disks during a start and stop process. However, friction between sliders and disks can still exist and has a strong effect on loading because sliders may contact disks during loading. In this paper, a new simplified friction model was proposed and implemented into the L/UL simulation code. Then, we studies two cases: A 10000 rpm server drive and A 1.0 inch Microdrive. It was found that the friction effect is smaller in the server drive case, while it is dramatic in the Microdrive case. Simulation with the proposed friction model shows that sliders will load to the third stable state if PSA is negative and the friction is big enough. In the third stable state, the slider has a negative pitch angle, and its leading edge continuously drags on the disk. In this state, we cannot do any reading/writing, and disks and sliders can be damaged.