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Journal articles on the topic 'Playwriting'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Chizhik, Alexander Williams. "Literacy for Playwriting or Playwriting for Literacy." Education and Urban Society 41, no. 3 (2009): 387–409. http://dx.doi.org/10.1177/0013124508327649.

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2

Thygesen, Mads. "Udvidelse af dramatikerens kampzone." Peripeti 19 (October 11, 2022): 152–59. http://dx.doi.org/10.7146/peri.v19isaernummer2.134033.

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The playwright’s expanded battlefieldThis essay examines some of the main ideas and visions that have formed the basis for the education of playwriting in Denmark. Thygesen describes the development of the national school of playwriting and shows how the curriculum and methodology relates to the expanded field of playwriting in Denmark and abroad.

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3

WHITEMORE, HUGH, and SIMON GRAY. "Playwriting dot com." Critical Quarterly 52, no. 1 (2010): 56–65. http://dx.doi.org/10.1111/j.1467-8705.2010.01923.x.

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4

Reynolds, Bianca. "Emergence Through Playwriting." Journal of Jungian Scholarly Studies 14 (June 11, 2019): 73–91. http://dx.doi.org/10.29173/jjs7s.

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Jungian artistic criticism is a thriving field of scholarship, with strong representation in the literature across numerous disciplines. However, there is relatively little Jungian representation in critical studies of dramatic writing. This essay adopts the dual perspectives of playwright and dramatic critic to argue for the utility of a Jungian theoretical framework for the creation and analysis of play texts. Such utility is demonstrated through analysis of a case study genre, termed the “contemporary family homecoming drama.” C. G. Jung’s theories of individuation and the psychological com

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5

Monteleone, Pam. "New Playwriting Strategies: A Language-Based Approach to Playwriting (review)." Theatre Topics 14, no. 1 (2004): 375–76. http://dx.doi.org/10.1353/tt.2004.0007.

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6

Christophe, Nirav, and Janicke Branth. "Den nøgne skrift." Peripeti 4, no. 8 (2021): 97–106. http://dx.doi.org/10.7146/peri.v4i8.110160.

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7

Player, Grace D. "Creating a Context for Girl of Color Ways of Knowing Through Feminist of Color Playwriting." LEARNing Landscapes 12, no. 1 (2019): 223–38. http://dx.doi.org/10.36510/learnland.v12i1.989.

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This article investigates how playwriting served three middle school Black girls within a larger practitioner research study seeking to better understand the literate practices of girls of color. It delves into the ways that playwriting provided the girls in an afterschool writing club opportunities to explore both their knowledge and ways of knowing, rooted in their cultural, gendered, and racialized experiences, and, in turn, share these with others, within an academic setting. It points to the necessity for creating writing pedagogies that celebrate experiential, cultural, emotional, and re

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Ljubić, Lucija, and Martina Petranović. "Poetic Tendencies in Contemporary Croatian Playwriting." Amfiteater 9, no. 2021-2 (2022): 94–112. http://dx.doi.org/10.51937/amfiteater-2022-1/94-112.

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The paper offers an overview of the most prominent poetic tendencies in contemporary Croatian playwriting after the year 2000. Focusing on several well-known Croatian playwrights (such as Mate Matišić, Davor Špišić, Ivan Vidić, Nina Mitrović, Elvis Bošnjak, Dubravko Mihanović, Tomislav Zajec, Ivana Sajko, Tena Štivičić, Ivor Martinić, Olja Lozica …) whose plays have been staged, published, studied and/or rewarded over the past two decades in both Croatia and abroad, the paper looks into the features of the subject matter (local or global, public or intimate, popular or provocative concerns), t

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Hrvatin, Varja. "New wave of playwriting." Maska 35, no. 200 (2020): 53–67. http://dx.doi.org/10.1386/maska_00009_1.

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New Wave of Playwriting is a compilation of two editions of the theatre segment Teritorij teatra (The Territory of Theatre) that were broadcast on Radio Študent. In the play of the introductory drama-radio form of the dialogue between the young female playwright and the young male director, it enters the field of exploring the contemporary playwriting of the youngest generation and its current position. For the starting point of the topical-structural analysis of concrete plays, the author takes the call for the Slavko Grum Award for Young Playwright and dedicates her attention to its recipien

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10

Mizusawa, Ken. "Drama-Based Playwriting: Teaching Playwriting Through Drama in the English Literature Classroom." Teaching Artist Journal 17, no. 1-2 (2019): 3–10. http://dx.doi.org/10.1080/15411796.2019.1595968.

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11

Bil, Olga Nikolaevna, Irina Fedoseevna Zamanova, and Marina Vladimirovna Polovneva. "The “author’s” voice in L. Petrushevskaya’s dramatic discourse." Philology. Issues of Theory and Practice 16, no. 10 (2023): 3312–17. http://dx.doi.org/10.30853/phil20230513.

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The author’s attitude, vision in a dramatic work is manifested mainly in the auxiliary text represented by stage directions that possess great potential. In women’s playwriting, the author’s inclusions reflect the atmosphere of the action showing the personality traits of the female playwright in the space of the work. The paper examines the “author’s” voice in L. Petrushevskaya’s playwriting, which is a model expressing the attitude of the female author to the depicted reality. The aim of the study is to determine the features of the linguistic means representing the “author’s” voice in L. Pe

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12

Delle, Suzanne. "Taking the Lore Out of Teaching Playwriting: A Pedagogy for Teaching Undergraduates Playwriting." International Journal of Arts Education 19, no. 1 (2023): 23–32. http://dx.doi.org/10.18848/2326-9944/cgp/v19i01/23-32.

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13

Pangallo (book author), Matteo, and Mark Albert Johnston (review author). "Playwriting Playgoers in Shakespeare’s Theater." Renaissance and Reformation 41, no. 2 (2018): 205–8. http://dx.doi.org/10.33137/rr.v41i2.29871.

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14

Holder, Heidi J. "Female Performance, Performativity, and Playwriting." Journal of Women's History 23, no. 1 (2011): 166–76. http://dx.doi.org/10.1353/jowh.2011.0009.

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15

Edgar, David. "Playwriting Studies: Twenty Years On." Contemporary Theatre Review 23, no. 2 (2013): 99–106. http://dx.doi.org/10.1080/10486801.2013.777056.

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16

Benabu, Joel. "On Shakespeare’s Playwriting: Opening Strategies." Journal of Dramatic Theory and Criticism 30, no. 1 (2015): 65–75. http://dx.doi.org/10.1353/dtc.2015.0033.

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17

Jones, Nesta. "New Playwriting, Ancient Greek Tragedy." New Theatre Quarterly 10, no. 39 (1994): 293. http://dx.doi.org/10.1017/s0266464x00008745.

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18

Fallow, Catriona. "New Playwriting at Shakespeare’s Globe." Contemporary Theatre Review 28, no. 4 (2018): 543–45. http://dx.doi.org/10.1080/10486801.2018.1528763.

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19

Keenan, Siobhan. "Playwriting Playgoers in Shakespeare’s Theater." Shakespeare 15, no. 1 (2018): 104–5. http://dx.doi.org/10.1080/17450918.2018.1543347.

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20

Elgar, A. G. "Student playwriting for language development." ELT Journal 56, no. 1 (2002): 22–28. http://dx.doi.org/10.1093/elt/56.1.22.

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21

Tulaganova, Sanobar. "Voices of Change: Social Criticism in Jadid Playwriting." International Journal Of Literature And Languages 5, no. 5 (2025): 173–76. https://doi.org/10.37547/ijll/volume05issue05-40.

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Behbudi's work is examined as a significant literary phenomenon that reflects the social realities of the country, marking the first Uzbek drama. In the play “Parricide”, Behbudi condemns a wealthy man as an indifferent father who neglects the upbringing of his son. In contrast, Qodiriy highlights another aspect of the issue through the portrayal of the selfish and greedy Fayziboy in “Unhappy Groom”. This article argues that the representation of both wealthy men as self-serving individuals, solely pursuing their own interests, introduces a novel concept. Furthermore, it discusses the congruit

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22

Wagner, Anton. "Elsie Park Gowan: Distinctively Canadian." Theatre Research in Canada 8, no. 1 (1987): 68–82. http://dx.doi.org/10.3138/tric.8.1.68.

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In the history of playwriting in English-Canada, men have most often been considered as the pioneering figures. But just as Charles Heavysege was preceded by the dramatic writing of Eliza Lanesford Cushing in the Montreal Literary Garland in the 1840s, the beginning of contemporary playwriting was not initiated by Robertson Davies' 1948 Overlaid and Fortune My Foe as is commonly thought. Of equal significance were the productions of Gwen Pharis Ringwood's Dark Harvest and The Rainmaker in 1945 and Elsie Park Gowan's The Last Caveman in 1946.

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23

Pezdirc Bartol, Mateja. "Najnovejša slovenska dramatika med platnicami in odrom." Jezik in slovstvo 49, no. 5 (2024): 13–21. http://dx.doi.org/10.4312/jis.49.5.13-21.

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Contemporary Slovene playwriting is met with a unique phenomenon: it has an extremely diverse theatre production of high quality, while the production of Slovene plays is minimal, their book publications are rare, approximately one Slovene text is staged per Slovene theatre on average, while literary studies have shown considerably less interest in contemporary Slovene playwriting compared to that in poetry and prose; therefore it is justified to speak of a so-called crisis in national playwriting on various levels. This aim of this article is to provide some key reasons for the current state

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24

Martín Pérez, Ángela. "ANTHONY PASERO-O’MALLEY. REBELS WITH A CAUSE IN CONTEMPORARY WOMEN PLAYWRITING. NEWCASTLE UPON TYNE, CAMBRIDGE SCHOLARS PUBLISHING, 2022. PP. 211." FemCrítica. Revista de estudios literarios y crítica feminista 1, no. 2 (2024): 98–101. https://doi.org/10.64301/fc.v1i2.28.

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25

Heard, Elisabeth J., and August Wilson. "August Wilson on Playwriting: An Interview." African American Review 35, no. 1 (2001): 93. http://dx.doi.org/10.2307/2903337.

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26

London, Todd. "American Playwriting and the Now New." Theatre History Studies 36, no. 1 (2017): 286–98. http://dx.doi.org/10.1353/ths.2017.0013.

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27

Svich, Caridad. "Playwriting as Editing: Lines of Memory." Contemporary Theatre Review 25, no. 1 (2015): 108–11. http://dx.doi.org/10.1080/10486801.2015.992260.

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28

Bartels, Brian. "Sam Shepard's Master Class in Playwriting." Missouri Review 30, no. 2 (2007): 72–88. http://dx.doi.org/10.1353/mis.2007.0093.

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29

Saldaña, Johnny. "Playwriting with Data: Ethnographic Performance Texts." Youth Theatre Journal 13, no. 1 (1999): 60–71. http://dx.doi.org/10.1080/08929092.1999.10012508.

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30

Lill, Wendy, Yvette Nolan, Jason Sherman, Guillermo Verdecchia, and Angela Rebeiro. "The Politics and Business of Playwriting." Canadian Theatre Review 115 (June 2003): 43–46. http://dx.doi.org/10.3138/ctr.115.009.

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This panel discussion took place on 18 October 2002 as part of the Celebrating Canadian Plays and Playwrights Conference at the Studio rehearsal hall in the Avon Theatre complex of the Stratford Festival. It was chaired by Angela Rebeiro and featured Wendy Lill, Yvette Nolan, Jason Sherman and Guillermo Verdecchia. The discussion was transcribed by Jesse Stewart and edited by Ric Knowles.

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31

Hrvatin, Varja, Maša Radi Buh, and Jakob Ribič. "Drama Without a Generation." Amfiteater 9, no. 2021-2 (2022): 268–70. http://dx.doi.org/10.51937/amfiteater-2022-1/268-270.

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In this paper, we will concentrate on the playwriting of the so-called young generation. In doing so, we will ask how this generation can be defined, given that the writers are quite individualised and dispersed among themselves, and their texts are quite diverse in terms of content, genre and form. We will argue that being born and growing up concurrently with the development of the internet, social networks and other new technologies, which are nowadays fundamentally inscribed in the social fabric, has significantly defined the young generation. Consequently, the boundaries between the virtu

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32

Hamilton, Patricia. "Playing New Words." Canadian Theatre Review 69 (December 1991): 20–24. http://dx.doi.org/10.3138/ctr.69.003.

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I went to Drama School at Carnegie Mellon, then called Carnegie Tech, from 1956 to 1960. On entry we were handed a list of 400 plays from world literature that we were expected to have read by graduation. We were told that if we accomplished this, we would have a working knowledge of theatre history. As I recall, not a single one of these important plays in 3,000 years of world playwriting had been written by a woman. In addition, in four years in that school I never studied, saw or acted in a play by a woman. Playwriting was as firmly a masculine domain as sumo wrestling.

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33

Jeremy White. "The Blunt Playwright: An Introduction to Playwriting, and: Playwriting, Brief and Brilliant (review)." Theatre Topics 18, no. 2 (2008): 245–46. http://dx.doi.org/10.1353/tt.0.0030.

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34

Zajc, Benjamin. "The Substance of Millennial Playwriting in Slovenia, Croatia and Serbia." Amfiteater 9, no. 2021-2 (2022): 284–86. http://dx.doi.org/10.51937/amfiteater-2022-1/284-286.

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In Slovenia, Croatia and Serbia, 21st-century playwriting is strongly marked by the arrival of the millennial generation. If the older generation of playwrights was preoccupied with the memory of wars, questioning of collective guilt and condemnation of past political entities, and if the established contemporary dramatic corpus is expanded by questions of lost identity, feminism and critique of society, the millennial generation further complicates its dramatic construction with apprehension about globalisation and cultural erasure. As argues Stephan Dark, this gives their work a neo-miserabi

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35

Barbee, Matthew. "Page to Stage: An Empirical Study of Foreign Language Learning (FLL) and Motivation Through Playwriting, Readers Theatre, and Stage Production." JALT PIE SIG: Mask and Gavel 10, no. 1 (2022): 7–33. http://dx.doi.org/10.37546/jaltsig.pie10.1-1.

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This article describes a set of lessons used in a university EFL course and presents empirical, classroom-based research. The set of lessons, Page to Stage, was designed to teach English through the use of drama, dramatic activities, and theatre production—more specifically: dramatic adaptation of Japanese folktales, playwriting, readers theatre, and the rehearsal, memorization, and performance of original, student-written plays. At the end of the lesson and course, students were surveyed on their beliefs regarding the lesson’s effects on their motivation, level of English, use of prosody, and

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36

Dupre, Barbara. "Defusing Difference through Drama." Voices from the Middle 12, no. 1 (2004): 32–38. http://dx.doi.org/10.58680/vm20044654.

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37

Cornish, Roger, Marshall Cassady, and Louis E. Catron. "Characters in Action: A Guide to Playwriting." Theatre Journal 38, no. 1 (1986): 131. http://dx.doi.org/10.2307/3207851.

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38

Edgar, David, and Hakan Gültekin. "British Theatre from Agitprop to ‘Primark Playwriting’." New Theatre Quarterly 40, no. 3 (2024): 266–71. http://dx.doi.org/10.1017/s0266464x24000204.

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In this interview, which took place in Birmingham on 16 February 2023, Hakan Gültekin talks to playwright David Edgar about his theatre universe and the current state of British theatre. Edgar has long championed the social and economic rights of playwrights, and here suggests that the lack of long-term and sustained support from British theatres has created what he calls ‘Primark playwrights’. His plays are characterized by a careful examination of historical events and the impact of these events on society, as evident in his epic two-part play Destiny (1976), which examines the roots of the

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39

Moskwa, Emily. "Playwriting 101: Moving play beyond the playground." Journal of Playwork Practice 3, no. 2 (2016): 155–63. http://dx.doi.org/10.1332/205316216x14813633813373.

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40

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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41

Goldstein, Tara. "Hong Kong, Canada: Playwriting as Critical Ethnography." Qualitative Inquiry 7, no. 3 (2001): 279–303. http://dx.doi.org/10.1177/107780040100700303.

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42

Grote, Jason, Caridad Svich, Anne Washburn, and Ken Urban. "Contemporary American Playwriting: The Issue of Legacy." PAJ: A Journal of Performance and Art 28, no. 3 (2006): 11–22. http://dx.doi.org/10.1162/pajj.2006.28.3.11.

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43

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

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44

Waldschmidt, Eileen Dugan. "Alma’s Unfinished Play: Bilingual Playwriting in a Summer School Program." Language Arts 78, no. 5 (2001): 442–48. http://dx.doi.org/10.58680/la2001183.

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In this article, Waldschmidt discusses one fourth-grade student’s attempt to write a bilingual script, based upon a story told to her by her father, within the context of a bilingual playwriting project.

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45

Komljanec, Kim. "Contemporary Slovenian Drama at the Beginning of the Third Decade of the 21st Century – Where Is It and Where Is It Headed?" Amfiteater 10, no. 2 (2022): 100–103. http://dx.doi.org/10.51937/amfiteater-2022-2/100-103.

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The article offers insight into various approaches to developing contemporary Slovenian playwriting at the beginning of the third decade of the 21st century. It lists existing formal and informal educational opportunities for playwrights, methods of cultivating new writing and various public presentation formats of new Slovenian dramatic writing and the recent development of its staging in Slovenia. The author presents quantitative data on the percentage of Slovenian scripts staged in government-funded theatres and the variations of this percentage over the last two decades. The author’s analy

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46

McClelland, Richard. "Between Postdramatic Text and Dramatic Drama: Recent German-Language Playwriting by Lukas Bärfuss and Katja Brunner." Humanities 9, no. 3 (2020): 61. http://dx.doi.org/10.3390/h9030061.

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Since 2000 there has been a boom in playwriting in the German-speaking world. This is shaped by a creative tension between two forms of theatre-texts. On the one hand the postdramatic text that exists in a theatre marked by a parataxis of all theatrical elements, as outlined by Hans-Thies Lehmann and Gerda Poschmann; on the other, the ‘dramatic drama’ as identified by Birgit Haas that engages with dramatic representation whilst still questioning the reality being represented on the stage. In this contribution I explore these strands of contemporary playwriting in two texts written since 2000:

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47

Luu, Thuy Trung. "The features of content and playwriting art in Ho Chi Minh City’s contemporary play." Science and Technology Development Journal 19, no. 1 (2016): 96–109. http://dx.doi.org/10.32508/stdj.v19i1.560.

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Since the last decade of the twentieth century, Ho Chi Minh City has become one of the Vietnamese lively dramatic literature and theater centers. During the past twenty years, together with dramatic theater, Ho Chi Minh City’s dramatic literature has built up a professional playwriter force, providing audiences plays which reflect the conflicts between human’s life in the time of Vietnam’s reformation and integration. Besides, these plays have contributed experiences in acquiring and applying the world modern playwriting techniques to suit Vietnamese’s drama reception habits. This paper

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48

Sierz, Aleks. "‘Me and My Mates’: the State of English Playwriting, 2003." New Theatre Quarterly 20, no. 1 (2004): 79–83. http://dx.doi.org/10.1017/s0266464x03000356.

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Since his account of the Birmingham Theatre Conference in NTQ51, Aleks Sierz has taken the temperature of British playwriting in articles about ‘Cool Britannia’ (NTQ56) – from which developed his influential book, In Yer Face Theatre: British Drama Today (Faber, 2001) – ‘Still In-Yer-Face? Towards a Critique and a Summation’ (NTQ69), and a report on the Bristol conference (NTQ73). At a time when more new writing is being staged than probably at any period of British theatre history, here he laments the insular social realism which once more characterizes English (as distinct from Irish, Scotti

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49

Jordão, Ada. "Playwriting in Canadian Popular Theatre: Developing Plays with Actors and Ν on-actors". Canadian Theatre Review 115 (червень 2003): 62–65. http://dx.doi.org/10.3138/ctr.115.013.

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Playwriting in Canadian Popular Theatre“ is a sweeping title that immediately brings into question the term ”popular theatre“ and its elusive definition. I have to begin by agreeing with Raymond Williams that ”popular“ may be the most ”difficult term in cultural studies“ (Merkin). In this paper I do not seek a definition, but rather, to ”facilitate“ the term by discussing and documenting popular theatre creations that I have participated in as an actor and/or playwright and/or director. My subtitle, ”Developing Plays with Actors and Non-Actors,“ pays homage to the work of Augusto Boal, to his

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50

Çakırtaş, Önder. "Muslims and Islam in contemporary British theatre and the image of the ‘British Muslim Self’ in Guleraana Mir’s Coconut." Performing Islam 11, no. 1 (2022): 35–51. http://dx.doi.org/10.1386/pi_00020_1.

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Despite their deep-seated presence in Britain, Muslims have been mostly excluded from theatre and popular entertainment. Sociopolitical restrictions have had an impact on the development of Muslim playwriting and it has taken longer than expected for Muslims to find their place within British theatre. Due to the expanding presence of Muslims in British and especially London theatres, the early twenty-first century has become a watershed for British Muslims. This article aims to show how British Muslims describe and represent their cultural, social and religious identities in theatrical works i

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