Relevant bibliographies by topics / Playwriting process

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Playwriting process'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Playwriting process"

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Seeling, Adam. "Beckett's Dying Remains: The Process of Playwriting in theOhio ImpromptuManuscripts." Modern Drama 43, no. 3 (2000): 376–92. http://dx.doi.org/10.3138/md.43.3.376.

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Carson, Neil. "Collaborative Playwriting: The Chettle, Dekker, Heywood Syndicate." Theatre Research International 14, no. 1 (1989): 13–23. http://dx.doi.org/10.1017/s0307883300005526.

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That a large number of Elizabethan plays are the product of dramatic collaboration is well known. Just how this process of ‘collective creation’ operated in the public theatres, however, remains something of a mystery. Attempts to explore the mechanics of collaborative play writing have been of different kinds. The most common have been studies of published plays undertaken in the hope that characteristics of style would reveal the shares of contributing dramatists. In spite of valuable work (notably by Cyrus Hoy), however, too many of these studies suffer from the weaknesses described by Samu
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Elkins, Marilyn, and Joan Herrington. ""I Ain't Sorry for Nothin' I Done": August Wilson's Process of Playwriting." African American Review 34, no. 3 (2000): 550. http://dx.doi.org/10.2307/2901408.

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Laramie Dean. "Playwriting in Process: Thinking and Working Theatrically, Second Edition (review)." Theatre Topics 20, no. 2 (2010): 192. http://dx.doi.org/10.1353/tt.2010.0099.

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View, Jenice L., and Mary Stone Hanley. "The Playwright Within: Fun, Freedom, and Agency Through Playwriting for Urban Elementary Students." Urban Education 55, no. 4 (2016): 592–624. http://dx.doi.org/10.1177/0042085916654524.

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The participants in this study are 9-year-olds who demonstrate signs of incipient alienation. Even with an experienced teacher who had a positive relationship with her students, some students describe school as boring. The arts may provide a path away from alienation when learning is embedded in the students’ cultural knowledge and when the artistic process is primary. Our research question was, “What do students learn when engaged in a playwriting experience in school?” The evidence suggests that students discovered fun, freedom, and a sense of agency with language arts as a result of their p
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Yebra, José M. "The flourishing of female playwriting on the Augustan stage: Mary Pix’s "The innocent mistress"." Journal of English Studies 12 (December 20, 2014): 149. http://dx.doi.org/10.18172/jes.2828.

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This article aims at analysing Mary Pix’s The Innocent Mistress (1697) as a paradigmatic example of the boom in female playwriting at the end of the seventeenth century in England. It is my main aim to determine whether and to what extent Pix’s play can be considered a derivative or innovative text. In other words, does The Innocent Mistress stick to the reformist atmosphere prevailing at the end of the seventeenth century or, on the contrary, is the play fully indebted to the hard Restoration drama of the 1670s? In contrast to the classic view of the Restoration stage as a monolith, this essa
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Korchevsky, A. A. "Arden of Faversham. Translator’s notebook." Voprosy literatury, no. 4 (August 22, 2019): 231–46. http://dx.doi.org/10.31425/0042-8795-2019-4-231-246.

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The author explores different aspects of his work on the Russian translation of Arden of Faversham, a famous play from Tudor period, first published in 1592, and written, and staged apparently several years earlier. Andrey Korchevsky argues why this textbook piece was never translated into Russian language and suggests that the anonymity of the author could play a role in its exclusion from consideration by the Soviet translation school. The context of authorship, in general, seems to be very relevant for the translation process, especially with Shakespeare being named as a ‘suspect’ for parti
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Shahri, Fatemeh Pakdaman. "A Sociological Study on Arthur Miller’s Death of a Salesman and All My Sons, Based on Georgy Lukacs’s Theories." Review of European Studies 9, no. 4 (2017): 83. http://dx.doi.org/10.5539/res.v9n4p83.

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Society and its human relations have always had a mutual connection with arts and culture; thus, the majority of artistic creations have always reflected images of society in the very heart of them. Sociological Studies of art, as an independent field does have a long history, however with the rise of modern social fields of study in the 19th and 20th century, there has been a significant growth in sociological studies.Georgy Lukacs as a pioneer theorist in the sociology of arts and literature has led a series of studies in the field of modern drama. This study has attempted to analyze Arthur
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Kulkarni, Prafull D. "Magic Realism in Flowers: Karnad’s Post-Modern World of Folkloric Fantasy." Shanlax International Journal of English 8, no. 3 (2020): 26–30. http://dx.doi.org/10.34293/english.v8i3.2429.

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“Magic realism” is a recent literary technique that contains a latent amalgamation of fantastic or mythical elements into an otherwise realistically narrated fiction. The theme and subject of such a literary work are often imaginary, somewhat outlandish and fantastic and always reflect into a dream-like reverie. It further marks the miscellaneous use of myths, legends and fairy tales, and an expressionistic description of an arcane situation leading to the element of surprise or abrupt shock. In literary discourses, the term is primarily associated with the post-modern novel of the Americas. G
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Chrystian, Tonya Rae. "RelationCRIPs with Dramaturgy: The Intervention of the Dramaturge in Devised CRIP Theatre." Canadian Journal of Disability Studies 6, no. 4 (2017): 179–96. http://dx.doi.org/10.15353/cjds.v6i4.387.

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Disability theatre has a complex Canadian history according to disability studies scholar Kirsty Johnson, and “Canadian artists with disabilities have found many and provocative ways to ‘get on stage’” (Johnson 4). The formation of disability art and theatre is as multifaceted and diverse as disability itself, but there will always remain a part of the process that must confront the ableism and exclusion perpetuated by the social models of oppression both on and offstage. As disability theatre seeks to challenge dominant narratives, relocate the status of the disabled body, and positively re-i
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Dissertations / Theses on the topic "Playwriting process"

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Logan, McCall. "QUEER, FEMINIST THEATRE: THE DEVELOPMENT PROCESS OF SAVAGE DAUGHTER." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2891.

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This thesis details the development of Savage Daughter, a full-length play performed over Zoom on March 18th, 2021. Savage Daughter tells the story of queer and BIPOC (Black and Indigenous People of Color) characters who fight for their right to exist in a world controlled by white, cisgender, Christian males. Centering on themes of midwifery, witch trials, and queerness, my play follows Constance’s journey of empowerment. Chapter one provides background information about witchcraft, midwifery, setting, and character development. Chapter two outlines my writing process and the first two works
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Hageland, Dustin Aaron. "Full Circle: The Development Process of Small Box with a Revolver." OpenSIUC, 2021. https://opensiuc.lib.siu.edu/theses/2848.

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This thesis examines the process of bringing Small Box with a Revolver from pre-writing to production at Southern Illinois University in March 2021, and my own growth in that process. I drew inspiration from the general societal behavior during the pandemic and other crises of 2020, as well as absurdist plays like Ionesco’s Rhinoceros and Beckett’s Waiting for Godot. The play was written to my stylistic preference of writing dark comedies about social issues.Chapter One examines where I began and how I developed the plot, characters and stylistic choices. Chapter Two examines the writing proce
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Shum, Wai-chung Chris, and 岑偉宗. "A research on the composing process in playwriting in Chinese of professional playwrights in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31223333.

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Ary, Rafael Luiz Marques 1982. "Dramaturgia colaborativa : procedimentos de criação e formação." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285313.

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Orientador: Mario Alberto de Santana<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-27T20:36:00Z (GMT). No. of bitstreams: 1 Ary_RafaelLuizMarques_D.pdf: 808261 bytes, checksum: 994418549a90a6b772f97b0c0bb5bee7 (MD5) Previous issue date: 2015<br>Resumo: Estudo sobre o caráter pedagógico do processo colaborativo no que se refere à formação de dramaturgos. O processo colaborativo é um modo de criação teatral surgido a partir da década de noventa do século vinte, que está relacionado às condutas contemporâneas de produção e com
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Harrison, Austin Brian. "DIVING INTO ONE’S PAINFUL PAST AND DARKEST INTERNAL FEARS: THE DEVELOPMENTAL PROCESS OF THE THREAD THAT SNAPPED." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2732.

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AN ABSTRACT OF THE THESIS OFAustin Harrison, for the Master of Fine Arts degree in Theatre, presented on April 10, 2020, at Southern Illinois University Carbondale. TITLE: DIVING INTO ONE’S PAINFUL PAST AND DARKEST INTERNAL FEARS: THE DEVELOPMENTAL PROCESS OF THE THREAD THAT SNAPPEDMAJOR PROFESSOR: Dr. Jacob Juntunen This thesis details the development of my full-length play The Thread That Snapped from its early conception in 2019 to full production at Southern Illinois University Department of Theatre’s Christian H. Moe Theatre’s space in March 2020. In writing The Thread That Snapped, I was
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Vanterpool, Irad. "The process of developing my voice as a playwright based on the creation of an original play /." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1123220323.

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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.<br>Title from first page of PDF document. Document formatted into pages; contains [1], iii, 114 p. Includes bibliographical references (p. 110-114).
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Lydon, Adam. "Using personality theory in the construction of an original play." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1288.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Theatre
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Yancey, Julia Alexandra. "The Art of the Process: The Creation and Production of Wrinkles in Our Clothing." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/honors/324.

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Wrinkles in Our Clothing One night after a party Andrew realizes that he has never truly lived. Christine finds her passion somewhere she never thought she could have it. These two young adults, making their way through college, realize that now is the time to decide how they will choose to live their lives. They face the challenges that most young adults face such as societal expectations, a parent’s ideal image of their child, and having the courage to take that first step. Although these two do not meet in the lives of their characters they appear to know each other in a few places througho
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Caldwell, Toebey T. "A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV." CSUSB ScholarWorks, 2017. https://scholarworks.lib.csusb.edu/etd/588.

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ABSTRACT My project for this Interdisciplinary Master’s Program, studying Film Theories and Media Production methods, details “A Production Process for Creating a Web Series, called SNAPtv”. This media production was designed to demonstrate my experience and knowledge I gained through this degree, by specific areas of developing and producing media, including script writing, filming and editing media content, to construct an original web series from Pre-Production to Post-Production. SNAPtv is a hybrid, sketch comedy, talk show produced as an online web series that mimics the characteristics o
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Filho, Marcus Borja de Almeida. "Dramaturgies en relation : processus compositionnels d'écriture théâtrale collective. Tendances et perspectives." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA096.

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Cette recherche s’inscrit dans la continuité du travail poursuivi en Master 2 dans cette même université, dont le mémoire, soutenu en 2009, s’intitule « Du théâtre d’après un texte vers le texte d’après un théâtre ; dramaturgie et collectivité ». Son but est de problématiser la dichotomie texte-scène ainsi que la pensée binaire qui persiste encore derrière cette opposition. Pour cela, il s’agira d’interroger l’évolution et les différentes acceptions des concepts de dramaturgie ainsi que les changements qu’ont subi la place et les fonctions du dramaturge au sein de la création théâtrale actuell
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Books on the topic "Playwriting process"

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Wright, M. Playwriting in process: Thinking and working theatrically. Heinemann, 1997.

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Playwriting in process: Thinking and working theatrically. 2nd ed. Focus Pub./R. Pullins Company, 2009.

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Wright, Michael. Playwriting in process: Thinking and working theatrically. 2nd ed. Focus Pub./R. Pullins Company, 2009.

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Michael, Wright. Playwriting-in-process: Thinking and working theatrically. Heinemann, 1997.

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Zeder, Suzan. Spaces of creation: The creative process of playwriting. Heinemann, 2005.

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Michael, Wright. Playwriting master class: The personality of process and the art of rewriting. 2nd ed. Focus Pub., 2010.

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Tracing the footprints: Documenting the process of performance. University Press of America, 2003.

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I ain't sorry for nothin' I done: August Wilson's process of playwriting. Limelight Editions, 1998.

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McLaughlin, Buzz. The playwright's process: Learning the craft from today's leading dramatists. Back Stage Books, 1997.

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The performer's guide to the collaborative process. Heinemann, 2001.

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Book chapters on the topic "Playwriting process"

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Goldfinger, Jacqueline. "The Revision Process." In Playwriting with Purpose. Routledge, 2021. http://dx.doi.org/10.4324/9781003173885-13.

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"Appendix B: Leading the process." In Playwriting. Routledge, 2004. http://dx.doi.org/10.4324/9780203334973-53.

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Fan, Xing. "Foundation of Productions: Scripts and Playwriting." In Staging Revolution. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455812.003.0006.

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Chapter 5 examines the textual foundation for model jingju productions from five perspectives. It begins with the ten plays’ synopses, followed by a discussion of the roles and functions of three categories of dramatic characters. The author then analyzes a singular overarching theme and three major supporting messages in model jingju. To provide insight into the delivery of these important motifs, the author offers further analysis on a general plotting pattern and three scene types that contribute significantly to model jingju theatricality. The last section focuses on an especially noteworthy aspect—literary construction—examining the narrative structure and use of language in model jingju in the context of their connections to traditional practices. This chapter features Wang Zengqi’s first-person narrative of the creative process resulting in Shajiabang and a close analysis of rhymed vernacular speech with primary examples from Azalea Mountain.
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Fan, Xing. "Coda." In Staging Revolution. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888455812.003.0011.

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The coda offers an analysis of how the five major artistic aspects work together in model jingju in communicating a particular type of aesthetics. Focusing on the nature and expression of beauty, the author examines three interrelated questions: Did the notion of beauty matter during the creative process? What is considered beautiful and therefore aesthetically favored? And how is this sense of beauty communicated? The author highlights two dominant aesthetic qualities in model jingju: the beauty of the sublime and the beauty of masculinity. The author analyzes imbalance as a primary aesthetic feature in two spheres: gender representation and aesthetic expectations. Finally, the author proposes that the deep roots of the imbalance in model jingju lie in the varied levels of association among the three traditional aesthetic principles—conventionalization, stylization, and synthesis—and each of the five major artistic aspects—playwriting, acting, music, design, and directing, and that, ultimately, the overarching creative directive, the Combination of Revolutionary Realism and Revolutionary Romanticism, was a flawed premise for model jingju.
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