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Journal articles on the topic 'Playwriting process'

Author: Grafiati

Published: 4 June 2021

Last updated: 13 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Panasiuk, Valerii. "Ideas’ stories and people’s stories in A. Zholdak’s directorial conception." Aspects of Historical Musicology 19, no. 19 (2020): 358–73. http://dx.doi.org/10.34064/khnum2-19.21.

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Problematic field, objectives and methodology of the study. The “star” figure of A. Zholdak, one of the most shocking directors intriguing with his unpredictability, cannot be overlooked in the sky of modern theatrical art. True, not of national art, but Western European or Russian – the stage productions of the avant-garde director resonate with the priority world trends in theatrical culture. This also applies to musical performances, where the staging process in last time has been carried out under the sign of the “Regio-Theater”, under the director’s concept, which is often radical and rev

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12

Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, № 51 (2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.

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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovs

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13

"Poetics of the creative process: an organic practicum to playwriting." Choice Reviews Online 43, no. 07 (2006): 43–3863. http://dx.doi.org/10.5860/choice.43-3863.

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14

""I ain't sorry for nothin' I done": August Wilson's process of playwriting." Choice Reviews Online 36, no. 11 (1999): 36–6154. http://dx.doi.org/10.5860/choice.36-6154.

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15

"Language teaching." Language Teaching 36, no. 2 (2003): 120–57. http://dx.doi.org/10.1017/s0261444803211939.

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03—230 Andress, Reinhard (St. Louis U., USA), James, Charles J., Jurasek, Barbara, Lalande II, John F., Lovik, Thomas A., Lund, Deborah, Stoyak, Daniel P., Tatlock, Lynne and Wipf, Joseph A.. Maintaining the momentum from high school to college: Report and recommendations. Die Unterrichtspraxis/Teaching German (Cherry Hill, NJ, USA), 35, 1 (2002), 1—14.03—231 Andrews, David R. (Georgetown U., USA.). Teaching the Russian heritage learner. Slavonic and East European Journal (Tucson, Arizona, USA), 45, 3 (2001), 519—30.03—232 Ashby, Wendy and Ostertag, Veronica (U. of Arizona, USA). How well can

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