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Journal articles on the topic 'Performance and Drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

Conteh-Morgan, John, and Tejumola Olaniyan. "Drama and Performance." Research in African Literatures 30, no. 4 (1999): 1–5. http://dx.doi.org/10.2979/ral.1999.30.4.1.

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2

Birch, David. "Drama, performance, praxis." Social Semiotics 1, no. 2 (1991): 170–93. http://dx.doi.org/10.1080/10350339109360343.

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3

Murakami, Ineke, and Donovan Sherman. "Performance beyond Drama." Journal of Medieval and Early Modern Studies 51, no. 3 (2021): 387–95. http://dx.doi.org/10.1215/10829636-9295002.

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The field of performance studies has invigorated premodern scholarship by directing critical attention to live, ephemeral events that unsettle the textual archive. This special issue of JMEMS builds on this work by stepping away from the usual emphasis on theater and its texts to examine “performance” conceived more broadly. With case studies that range from a pig-clubbing “game” in medieval festivals to the gnomic utterances of secretive eighteenth-century philosophical rituals, these essays ask how we study a medium that has, by its nature, disappeared. How, in other words, do we engage text

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4

Worthen, W. B. "Drama, Performativity, and Performance." PMLA/Publications of the Modern Language Association of America 113, no. 5 (1998): 1093–107. http://dx.doi.org/10.2307/463244.

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There is a crisis in drama studies that is reflected in the ways different disciplines understand dramatic texts and performance. Literary studies, absorbed with the functioning of language, often betrays a desire to locate the meanings of the stage in the dramatic text. Performance studies has developed a vivid account of nondramatic performance, which appears to depart from textual authority. Both disciplines, however, view drama as a species of performance driven by its text; as a result, drama appears as an unduly authorized mode of performance. Here, I read a range of critics (Andrew Park

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5

Amkpa, Awam. "African Drama and Performance." Theatre Survey 47, no. 1 (2006): 123–25. http://dx.doi.org/10.1017/s0040557406270091.

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The anthology African Drama and Performance, edited by John Conteh-Morgan and Tejumola Olaniyan, brings together a body of critical essays on the corporeal and discursive aspects of African drama and theatre remarkable for its encyclopedic scope and intellectual rigor. The work, stewarded by two of the most erudite and industrious scholars in the field, is a book-length version of a highly successful special edition of Research in African Literature.

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6

Gaughan, Lisa Jane. "Drama/Theatre/Performance (review)." Theatre Journal 60, no. 1 (2008): 164–65. http://dx.doi.org/10.1353/tj.2008.0064.

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7

Conteh-Morgan, John, and Tejumola Olaniyan. "Introduction: Drama and Performance." Research in African Literatures 30, no. 4 (1999): 1–5. http://dx.doi.org/10.1353/ral.2005.0041.

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8

Binder, Werner. "The drama of politics." Thesis Eleven 142, no. 1 (2017): 112–29. http://dx.doi.org/10.1177/0725513617727904.

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The concept of social performance is a major theoretical innovation of the strong program in cultural sociology, championed by Jeffrey C. Alexander. This article offers a critical assessment of Alexander’s last four monographs on political performances with the explicit aim of contributing to the future development of the performance approach. After an outline of Alexander’s theory of performance, I continue to discuss his book-length empirical contributions, highlighting the innovations introduced by each study. Confronting Alexander’s research strategies with his theoretical framework, I pro

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9

Fareeha Zaheer. "Theatrical Milieu: Investigating Drama and Theatre in tandem with Socio-Political Landscape of Pakistan." sjesr 4, no. 2 (2021): 278–87. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(278-287).

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This study is an attempt to trace the impacts of socio-political conditions in the formation and evolution of drama and theatre traditions in Pakistan. It provides the genesis of theatre and drama in Pakistan intertwining it with the past and present situations of this genre of literature. It also ventures at the inert position of drama and theatre in English in Pakistan. Qualitative textual analysis is conducted to analyze and highlight the major available critical acumen in the genre of Pakistani drama and theatre. The methodology adopted is interpretive of the theatrical performances by maj

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10

Gibbs, James. "African Drama and Performance (review)." Africa Today 52, no. 2 (2005): 78–80. http://dx.doi.org/10.1353/at.2006.0006.

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11

Tucker, D., and D. Ploeger. "12 * Drama and Performance Studies." Year's Work in Critical and Cultural Theory 20, no. 1 (2012): 244–71. http://dx.doi.org/10.1093/ywcct/mbs012.

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12

Ploeger, D., and A. Clarke. "12 * Drama and Performance Studies." Year's Work in Critical and Cultural Theory 21, no. 1 (2013): 228–55. http://dx.doi.org/10.1093/ywcct/mbt011.

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13

Ploeger, D., and L. Lepage. "16 * Drama and Performance Studies." Year's Work in Critical and Cultural Theory 22, no. 1 (2014): 304–33. http://dx.doi.org/10.1093/ywcct/mbu016.

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14

Krasner, D. "Performance and Drama in Africa." Theater 33, no. 3 (2003): 145–47. http://dx.doi.org/10.1215/01610775-33-3-145.

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15

Irobi, Esiaba. "African Drama and Performance (review)." Theatre Journal 57, no. 4 (2005): 770–71. http://dx.doi.org/10.1353/tj.2006.0024.

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16

Donegan, Robert. "Process Drama and Teacher in Role in ELT." JALT PIE SIG: Mask and Gavel 8, no. 1 (2020): 5–12. http://dx.doi.org/10.37546/jaltsig.pie8.1-1.

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This paper is a discussion of the potential of using specific drama techniques during English lessons at a Japanese private senior high school. The techniques in focus are process drama and specifically teacher in role (TiR). TiR is a specific technique that is often used in the broader area of process drama. Process drama concerns itself more with the experiential rather than the performance aspect of drama. In it, a teacher, or facilitator, goes into role with the participants in the co-construction of extended role-plays and dramas. Such methods have been used in English language teaching b

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17

Havenga, Marnus. "Christ as performance." STJ | Stellenbosch Theological Journal 6, no. 4 (2021): 139–58. http://dx.doi.org/10.17570/stj.2020.v6n4.a6.

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This essay will explore Hans Urs von Balthasar’s Christology as performance from below. It will begin by introducing Balthasar’s theodramatic project as presented in his five-volume work Theo-drama. Here, it will be shown how Balthasar engages with and uses the conceptual resources of drama and the theatre to develop a theological dramatic theory with the performance of Christ at its very centre. This will be followed by an investigation into Balthasar’s dramatic Christology and what he saw as the re-performance of the Christ-drama on the world stage. The essay will then conclude with a few br

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18

Kastleman, Rebecca. "16Performance, Theater, Drama." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 303–23. http://dx.doi.org/10.1093/ywcct/mbz016.

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Abstract The year 2018 was an especially fruitful and wide-ranging one for theater and performance studies. Several major monographs deepened discussion in established subject areas within the field, while new methodological approaches emerged, opening fresh directions in scholarship. This review focuses on four major areas of conversation that shaped the field in 2018: 1. Expanding Performance Aesthetics; 2. Economic and Material Contexts of Performance; 3. Enacting Public Justice; and 4. Performance on the Move.

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19

Fitzgerald. "Medieval Drama Studies: A Performance Review." Journal of English and Germanic Philology 113, no. 1 (2014): 93. http://dx.doi.org/10.5406/jenglgermphil.113.1.0093.

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20

Vargo. "Chartist Drama: The Performance of Revolt." Victorian Studies 61, no. 1 (2018): 9. http://dx.doi.org/10.2979/victorianstudies.61.1.01.

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21

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

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22

Antonelli, Liam, Sasha Bilocca, Dario Borg, et al. "Drama, Performance Ethnography, and Self-Esteem." SAGE Open 4, no. 2 (2014): 215824401453469. http://dx.doi.org/10.1177/2158244014534696.

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23

TĂBĂCARU, Roxandra. "Drama-Music Communication in Opera Performance." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (2021): 313–20. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.34.

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The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the sam

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24

van de Water, Manon. "Drama in education: why drama is necessary." SHS Web of Conferences 98 (2021): 02009. http://dx.doi.org/10.1051/shsconf/20219802009.

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The article dwells on the use of drama and performance techniques in education and social work in connection with multiple intelligence theory, emotional intelligence theory, and brain based learning. The author connects the use of drama in the alternative theories of teaching and learning based on recent neuroscientific research, and lays out an integrative approach to teaching and learning that promotes inclusion, diversity, and social awareness, through embodied and contextualized learning. If we perceive cognition and emotion as interrelated, then drama as an educational tool becomes essen

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25

Rudita, I. Made, and Ni Luh Putu Wiwin Astari. "STRUKTUR DRAMATIK PERTUNJUKAN DRAMA KLASIK SANGGAR TEATER MINI LAKON DEWA RUCI KAJIAN BENTUK DAN FUNGSI." WIDYANATYA 1, no. 1 (2019): 51–59. http://dx.doi.org/10.32795/widyanatya.v1i1.270.

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ABSTRAK  Pada dasarnya nilai pendidikan karakter mempunyai tiga bagian yang saling bekaitan, yaitu pengetahuan moral, penghayatan moral dan perilaku moral. Oleh karena itu seseorang dengan karakter yang baik, mengetahui, menginginkan, dan melakukan yang baik. Ketiganya merupakan syarat untuk menuntun hidup yang bermoral dan membangun kematangan moral. Dalam melakukan pendidikan karakter tidak harus dengan menambah program tersendiri, melainkan bisa melalui transformasi budaya, salah satunya nilai-nilai pendidikan karakter bisa disampaikan melalui seni pertunjukan drama, khususnya p

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26

Wolford, Lisa. "Ta'wil of Action: the New World Performance Laboratory's Persian Cycle." New Theatre Quarterly 12, no. 46 (1996): 156–76. http://dx.doi.org/10.1017/s0266464x00009982.

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The New World Performance Laboratory is an experimental theatre company based in Cleveland, Ohio, founded by a number of artists who originally collaborated in the context of Jerzy Grotowski's Objective Drama Programme. NWPL investigates traditional performance techniques of various cultures, conducting private research as well as mounting publicly-accessible productions. Iranian director Massoud Saidpour, a founding member of the company, has developed a series of performances based on Sufi teaching stories which explore the adaptation of traditional Persian materials and performance idioms f

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27

Gilbert, Steven J., and Paul Conway. "Drama in the Classroom." Teaching of Psychology 14, no. 3 (1987): 171–72. http://dx.doi.org/10.1207/s15328023top1403_11.

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The performance of live drama by teachers in the classroom is advocated as a way of promoting immediacy and involvement. Our experiences with one such performance and the responses of our students are described.

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28

Wahdini, Lili. "DEVELOPING SPEAKING SKILLS BY PERFORMANCE OF A SHORT DRAMA." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 6, no. 2 (2013): 90. http://dx.doi.org/10.24036/ld.v6i2.7403.

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This article is aimed at presenting an alternative to anticipate the problems faced by students in speaking activities. One of the techniques that can be used to increase students’ ability in speaking is by performing a short drama in English class. Drama provides more chance for the students to speak and in English fluently and accurately as the students do not feel stress in learning. Moreover, the students are motivated to speak and express their feeling. Therefore, by performing a short drama, it can create a warm and happy atmosphere in the classroom.

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29

Cavalcanti, Maria Laura Viveiros de Castro. "DRAMA, RITUAL E PERFORMANCE EM VICTOR TURNER." Sociologia & Antropologia 3, no. 6 (2013): 411–40. http://dx.doi.org/10.1590/2238-38752013v363.

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Resumo Este estudo da obra de Victor Turner toma como ponto de partida seu profundo interesse pelos símbolos e por sua ação na experiência social. Ritual é o tema que abarca esse interesse, desdobrando-se de diversos modos nas sucessivas fases de sua trajetória intelectual. Nesta incursão, Chihamba, um ritual de cura Ndembu, e o personagem mítico Kavula - que emergem já em seu primeiro livro Schism and continuity in an African society (1996 [1957]) - são tomados como fio condutor para a apreensão dos conceitos de drama social, de símbolo ritual e de performance, três fulcros das contribuições

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30

Bahri, Syamsul, and Meisuri Meisuri. "Enhancing Students’ Drama Performance: A Process Approach." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 1 (2020): 454–60. http://dx.doi.org/10.33258/birle.v3i1.840.

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This research aims at describing and developing website based authentic assessment model on drama course in English literature study program. The research data comes from descriptive information of the experts or validator along with the suggestion from the students as the product user through the PBL activity combined with the observation and recording with video tape. Data analysis is done by using rubric measure: a) the information completeness which is applied on the work sheets. b) the information comprehensiveness which is included in the paragraph written by the students. The overall of

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31

Martins, Leda Maria. "Performance e drama: pequenos gestos de reflexão." Aletria: Revista de Estudos de Literatura 21, no. 1 (2011): 101–9. http://dx.doi.org/10.17851/2317-2096.21.1.101-109.

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Neste texto sublinhamos a importância e pertinência de utilização dos estudos e teorias da performance como lente epistemológica que oferece um olhar transversal, não excludente, sobre a multicênica face da cena contemporânea.

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32

Bell, John. "Islamic Performance and the Problem of Drama." TDR/The Drama Review 49, no. 4 (2005): 5–11. http://dx.doi.org/10.1162/105420405774762907.

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33

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

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34

Underiner, Tamara L., and Christopher Danowski. "Chicano Drama: Performance, Society and Myth (review)." Theatre Journal 54, no. 4 (2002): 668–69. http://dx.doi.org/10.1353/tj.2002.0143.

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35

Sari Famularsih. "The Implementation of Classical Puppet Drama Performance to Improve English Speaking Skill for International Class Program Students." IJORER : International Journal of Recent Educational Research 1, no. 2 (2020): 116–23. http://dx.doi.org/10.46245/ijorer.v1i2.41.

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This study analysed the implementation of classical puppet drama performance to improve students’ speaking skill in International Class Program of one of universities in Salatiga. The teaching and learning processes in drama class were(1 ) asking the students with the question, (2) designing drama project plan, (3) creating drama preparation schedules, (4) monitoring the students in preparing the drama, (5) assessing the outcome, and (6) evaluating students’ drama performance. This study was qualitative research in the form of case study. To collect the data the researcher used observation, in

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36

Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.

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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whol

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37

Carpenter, James. "Drama in Project-Based Learning." JALT PIE SIG: Mask and Gavel 3, no. 1 (2014): 16–23. http://dx.doi.org/10.37546/jaltsig.pie3.1-2.

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This paper describes a student-centered project-based language learning approach currently practiced at an English language school in Japan. The approach focuses on the creation and performance of original dramas as part of a school festival held every six months. These dramas are written and staged entirely by students. Instructors are responsible for providing language support and content feedback. Assessments are handled through peer and self-assessment based on criteria developed in consultation with instructors. While there are a number of important empirical questions about both project-

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38

Brandt, George W. "An Eighteenth-Century Performance Analysis: Böttiger on Iffland." New Theatre Quarterly 20, no. 1 (2004): 28–35. http://dx.doi.org/10.1017/s0266464x03000307.

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Trained under Ekhof at Gotha, the German actor August Wilhelm Iffland began his professional career in 1779 at the Mannheim Court Theatre. He moved to Berlin to become director of the National Theatre in 1796, remaining there till his death in 1814. In between, he paid a guest visit to the Weimar Court Theatre, at the invitation of its presiding genius, Goethe. A local schoolmaster, Karl August Böttiger, published an account of several of his roles. This was, for its times, an evocative and unusually detailed record of performance style, and here George Brandt complements his analysis with ext

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39

Keegan, Daniel L. "Indigested in the Scenes: Hamlet's Dramatic Theory and Ours." PMLA/Publications of the Modern Language Association of America 133, no. 1 (2018): 71–87. http://dx.doi.org/10.1632/pmla.2018.133.1.71.

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Discussions of the relation between drama and performance have been dominated by two symmetrical, emancipatory impulses. Performance scholars have, for the past half-century, sought to liberate performance from the authority of the drama. Literary scholars have, for centuries, if not millennia, sought to distinguish a “literary” dimension of the dramatic text free of the flux of performance. his essay diagnoses in Shakespeare's Hamlet an alternative story about the relation between drama and performance. Paying refreshed attention to the earlier and less famous of Hamlet's statements of dramat

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40

Wijayanti, Okto. "Multiple Intelligences in Learning Musical Dramas for Prospective Primary School Teachers." JOURNAL OF TEACHING AND LEARNING IN ELEMENTARY EDUCATION (JTLEE) 4, no. 1 (2021): 98. http://dx.doi.org/10.33578/jtlee.v4i1.7872.

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Prospective teachers who get the 7th semester of Drama and Dance Education courses must have competence, one of which is that the teacher can present interesting learning for children with a drama approach, as a multidisciplinary knowledge that can be taught using role playing methods that are taught more interesting, fun, meaningful, interactive and rich experience. As a student, you can develop multiple intelligence in this subject. Programmed and scheduled musical drama training systems are indeed interesting, because each student is given the freedom to give assessments, provide reinforcem

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41

Sugita, I. Wayan, Made Setini, and Yahya Anshori. "Counter Hegemony of Cultural Art Innovation against Art in Digital Media." Journal of Open Innovation: Technology, Market, and Complexity 7, no. 2 (2021): 147. http://dx.doi.org/10.3390/joitmc7020147.

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Culture is the most critical thing when driving innovation. This paper aims to discuss the counter-hegemony of Drama Gong against modern entertainment arts today with the dynamics of openness innovation. The research method used is qualitative and uses triangulation analysis. Basic qualitative data were obtained by examining two stories of Drama Gong, namely: (1) Angling Dharma (the 1980s) and (2) Jayaprana (2020). Data were collected through observation, document review, and interviews with artists and art observers of the Drama Gong culture of Bali. Qualitative descriptive analysis was carri

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42

Mouton, M. "Fiksionaliteit in die Dramawêreld." Literator 7, no. 3 (1986): 39–51. http://dx.doi.org/10.4102/lit.v7i3.887.

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The fictional drama world differs from the fictional world encountered in other literary genres, and the difference can be traced back to the link of the text with the performance.A general, traditional view is that the fictional world of the dramatic text takes place in a fictional “here and now” .Elam has postulated a theory following a study of the fictional drama world. He uses a term from logical semantics, viz. the “theory of possible worlds” and adjusts this to enable him to speak of a dramatic possible world. Elam mentions three aspects which help towards the establishment of the ficti

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43

McNaughton, Douglas. "Performance, place and screen." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (2018): 280–96. http://dx.doi.org/10.1177/1749602018780637.

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Screen performance is characterised by the interaction of performance, place and screen, but has suffered from critical neglect. Most accounts of this collaborative process focus on the performer in front of the camera rather than on the activities going on behind it. This article examines how performance is shaped within the BBC’s Outside Broadcast (OB) drama production paradigm of the 1970s and 1980s. The interactions of performers and camera operators combine to construct on-screen performance, since the generation of the screen frame necessarily ‘frames’ performance both literally and figu

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44

DIAMOND, CATHERINE. "The Palimpsest of Vietnamese Contemporary Spoken Drama." Theatre Research International 30, no. 3 (2005): 207–22. http://dx.doi.org/10.1017/s030788330500146x.

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Unlike most Southeast Asian theatres, Vietnam has created a sizeable corpus of scripted spoken dramas that continue to be popular in performance with urban audiences. Initially influenced by French classicism and Ibsenist realism, the Vietnamese spoken drama, kich noi, very quickly adapted to local social realities and survives by readily incorporating topical subjects. While keeping abreast of current social issues, the theatre nonetheless makes use of its multi-cultural heritage, and in any given modern performance one can see the layers of influence – traditional Sino-Vietnamese hat boi/tuo

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45

Kallenbach, Ulla, and Annelis Kuhlmann. "Towards a Spectatorial Approach to Drama Analysis." Nordic Theatre Studies 30, no. 2 (2019): 22–39. http://dx.doi.org/10.7146/nts.v30i2.112950.

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In recent years, the concept of dramaturgy has been expanded to include a wide range of new fields that rarely concern the analysis of the drama text itself, but rather the facilitation of creative processes. This article investigates dramaturgy as an analytical practice. The article provides an analytical, historical investigation of methodological approaches to drama analysis. The aim is to examine how drama analysis came to be regarded as a literary discipline that rarely considers aspects of performance and the material, scenic context for which the play was written. The study of drama thu

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46

LIU, SIYUAN. "‘Spoken Drama (Huaju) with a Strong Chinese Flavour’: The Resurrection and Demise of Popular Spoken Drama (Tongsu Huaju) in Shanghai in the 1950s and Early 1960s." Theatre Research International 42, no. 3 (2017): 265–85. http://dx.doi.org/10.1017/s030788331700058x.

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In the late 1950s and early 1960s in Shanghai, the remnant ofwenmingxi(civilized drama), China's first form of Western-style spoken drama, which had flourished in the 1900s and 1910s as a hybrid of Western spoken theatre and indigenous performance, experienced a brief resurrection and ultimate demise under the name oftongsu huaju(popular spoken drama). Considered until then as popular entertainment inferior to the officially recognized form of modern theatre,huaju(spoken drama), that adhered to Western realistic dramaturgy and performance,tongsu huajustaged a six-play festival in January 1957

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47

Tait, Peta. "Animals in Drama and Theatrical Performance: Anthropocentric Emotionalism." Animal Studies Journal 9, no. 2 (2020): 213–39. http://dx.doi.org/10.14453/asj/v9.i2.9.

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This article outlines how nonhuman animals are framed by the emotions of drama, theatre and contemporary performance and considers a distinctive tradition in western culture of enacting animal characters who function as surrogate humans. It argues that, contradictorily, while animal characters confirm anthropocentric emotionalism, drama also contains pro-animal values and concern for animal welfare. Animals embodying emotions in theatrical languages are part of the way animals are used in the traditions of western culture and to think and philosophize with, but they also indicate thinking abou

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48

Maley, Willy, and Alan J. Fletcher. "Drama, Performance, and Polity in Pre-Cromwellian Ireland." Modern Language Review 98, no. 1 (2003): 177. http://dx.doi.org/10.2307/3738203.

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49

Mal'tseva, Ol'ga Nikolaevna. "LEITMOTIF IN THE PERFORMANCE OF THE DRAMA THEATER." Manuscript, no. 8 (August 2018): 134–38. http://dx.doi.org/10.30853/manuscript.2018-8.29.

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50

Chamberlain, Stephanie, and Greg Walker. "The Politics of Performance in Early Renaissance Drama." Sixteenth Century Journal 30, no. 4 (1999): 1065. http://dx.doi.org/10.2307/2544628.

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