Journal articles: 'Poetics of drama'

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Žmak, Jasna. "Linguistics, poetics, theater and drama." Zbornik Akademije umetnosti, no. 7 (2019): 147–57. http://dx.doi.org/10.5937/zbakum1907147z.

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Mazur, Piotr Stanislaw. "Human Drama in Aristotle’s Poetics." Roczniki Humanistyczne 68, no. 3 (February 7, 2020): 57–69. http://dx.doi.org/10.18290/rh20683-4.

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Ludzki dramat w Poetyce Arystotelesa Celem artykułu jest ukazanie dramatu jako wydarzenia ludzkiego w Poetyce Arystotelesa. Zdaniem autora, odwrócenie mechanizmu naśladownictwa (mimesis), używanego przez Arystotelesa do tworzenia tragedii, pozwala potraktować Poetykę przede wszystkim jako nośnik wiedzy o dramacie człowieka jako bohatera tragedii. Uczucia litości i trwogi, których powinna dostarczyć tragedia, ujawniają, co jest dramatem człowieka, a zarazem co sprawia, że człowiek może doświadczyć dramatu. Dramat ten wynika nie tylko z siły i nieuchronności zła, na które natrafia człowiek w swoim życiu, ale także jest następstwem jego niedoskonałości. Przejawia się ona w podatności człowieka na błąd, nietrwałości i niepewności jego sytuacji oraz podatności na egzystencjalne zranienie.

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Colley, Scott. "The Poetics of Jacobean Drama. Coburn Freer , Jacobean Drama." Modern Philology 82, no. 4 (May 1985): 422–24. http://dx.doi.org/10.1086/391412.

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Nirwana, Aditya. "Sekelumit tentang Risalah “Poetics”, karya Aristotle (384-322 SM)." KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra) 2, no. 01 (March 19, 2019): 51–63. http://dx.doi.org/10.33479/klausa.v2i01.147.

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Poetics atau Puitika, merupaka karya Aristoteles yang menyajikan pokok-pokok pemikirannya tentang estetika, khususnya drama. Beberapa hal didalamnya meliputi bentuk plot dan perwatakan dalam drama, perumitan, perbedaan diantara beragam jenis puisi atau tragedi. Artikel ini bertujuan untuk merangkum dan memberikan sedikit ulasan terhadap pokok-pokok pemikiran Aristoteles di dalam Poetics, khususnya yang terkait dengan unsur-unsur Tragedi, yakni : 1) Alur/Plot; 2) Watak/Karakter dan Perwatakan; 3). Pemikiran (Tought); 4) Diksi; 5) Nyanyian dan Spectacle (Tontonan); dan 6) Tentang Nasib, Adegan Tragis, dan Kengerian. Dari pembacaan yang telah dilakukan, ditemukan bahwa Aristoteles mendefinisikan tragedi sebagai Mimesis Praxeos, "imitation of action". "Praxis" atau "Tindakan" dalam konteks ini sering dimaknai merujuk pada tindakan yang disengaja dalam keadaan rasional dan sadar. Hal ini memiliki konsep mimesis yang berbeda dangan mimesis dalam korpus Platon. Di samping itu, di dalam Poetics, nampak pemikiran Aristotle yang cenderung Formalistik, meskipun pada akhirnya bercorak fungsional, artinya apa yang sudah disampaikan Aristotle dalam Poetics mengenai Tragedi atau seni drama yang baik, bermuara pada sajian tontonan yang bermutu dan mendidik. Hal ini juga dapat dikatakan bahwa sajian drama yang baik menjadikan masyarakat memperoleh pengertian tentang keutamaan moral. Alih-alih formalistik, pemikiran Aristotle berujung pada fungsionalisme.

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Chodkowski, Robert R. "Aristotle’s Poetics versus Modern Theories of Drama." Roczniki Humanistyczne 66, no. 3 SELECTED PAPERS IN ENGLISH (October 23, 2019): 25–35. http://dx.doi.org/10.18290/rh.2018.66.3-2e.

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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 57 (2009), issue 3. This paper seeks to prove that there are no grounds in the Poetics to ascribe to Aristotle the views identified with the literary theory of drama because he does not identify drama with a verbal work. On the contrary, the spectacular dimension of tragedy is for Aristotle one of the distinctive feature of tragedy vis-à-vis epos, which for him is only – to use our modern terms—a literary work. Thus, the visual element (ὄψις or ὄψεως κόσμος) is not only very important for Aristotle, but it is even a necessary component of tragedy. Indeed there are some remarks in the Poetics that suggest tragedy may exist without ὄψις, but this is only regarded as a hypothetical situation, analogical to the one when he argues that tragedy may exist without characters. In fact, however, both ὄψις and characters are regarded by Aristotle as necessary components of tragedy. He makes his considerations assuming both components. At the same time, he treats tragedy not as a text but a theatrical work in which mimesis can be conducted by the “acting persons” (πράττοντες). They are understood not as literary figures, but as stage embodiments of the heroes whose psychophysical ontic paradigms are actors.

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Pikkanen, Ilona. "The metrics and poetics of historical drama." Orbis Litterarum 74, no. 5 (August 11, 2019): 311–39. http://dx.doi.org/10.1111/oli.12238.

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Kovpik, S. "Poetics peculiarities of the classical Chinese drama." Chinese Studies, no. 1 (2021): 221–28. http://dx.doi.org/10.51198/chinesest2021.01.221.

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Bošnjak, Matija. "Elements of Dramatic Symbolism in the Poetics of Miodrag Žalica." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 43–58. http://dx.doi.org/10.51558/2490-3647.2021.6.3.43.

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In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.

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Dahlhaus, Carl. "What is a musical drama?" Cambridge Opera Journal 1, no. 2 (July 1989): 95–111. http://dx.doi.org/10.1017/s0954586700002913.

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‘Dramaturgy’ is one of those vogue words to which frequent use lends the appearance of being increasingly well understood, whereas the wear and tear to which it is subjected actually makes it ever harder to understand. When a word has lost almost all meaning through overuse, the simplest way to make it usable again is, of course, to try to restore its original meaning. It should be possible to agree that dramaturgy is the composition of dramas tout court, and there can be no serious objection if that basic definition is understood to include the theories and principles of dramatic composition (as Lessing did in his Hamburgische Dramaturgie). In that sense ‘dramaturgy’ is to drama what ‘poetics’ is to poetry: it denotes the essential nature of the categories that form the basis of a drama and can be reconstructed in a dramatic theory.

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English, Mary C., and Gregory W. Dobrov. "Figures of Play: Greek Drama and Metafictional Poetics." Classical World 96, no. 1 (2002): 109. http://dx.doi.org/10.2307/4352729.

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Nogovitsin, Oleg P. "CHEKHOV'S DRAMA AND THE "POETICS" OF THE ARISTOTLE." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 1 (2017): 91–107. http://dx.doi.org/10.28995/2073-6398-2017-1-91-107.

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Mateas, Michael. "A preliminary poetics for interactive drama and games." Digital Creativity 12, no. 3 (September 2001): 140–52. http://dx.doi.org/10.1076/digc.12.3.140.3224.

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Watts, Derek A., and David Clarke. "Pierre Corneille: Poetics and Political Drama under Louis XIII." Modern Language Review 89, no. 3 (July 1994): 767. http://dx.doi.org/10.2307/3735187.

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Lieblein, Leanore, and Linda Kintz. "The Subject's Tragedy: Political Poetics, Feminist Theory, and Drama." Theatre Journal 47, no. 2 (May 1995): 324. http://dx.doi.org/10.2307/3208506.

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Danilkova, Yulia Y. "THE POETICS OF INTERTEXTUALITY IN BÜCHNER’S DRAMA “DANTONS TOD”." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 2 (2015): 119–29. http://dx.doi.org/10.28995/2073-6355-2015-2-119-129.

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Ciechańska, Magdalena. "Ciało cierpiące i ontologiczne strzępy człowiecze w „Śnie srebrnym Salomei” Juliusza Słowackiego." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 192–208. http://dx.doi.org/10.24917/20811853.20.12.

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The article relates to the issue of the suffering body in Juliusz Słowacki’s drama 'Sen srebrny Salomei'. The first and the second part of the article are dedicated to the description of the main drama characters who are media of supernatural reality, and the analysis of the co‑existing worlds of human beings and spirits. The third part includes the interpretation of the ‘poetics of macabre’ and ‘theater of pain’, the phenomenon of vivisection and the ontology of ‘human remains’. The author reads Słowacki’s drama through the prism of Michel Henry’s philosophy of existence.

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Handanović, Merima. "IRONIJSKI MODUS HEROJA U DRAMAMA A. P. ČEHOVA / THE IRONIC MODE OF HEROES IN PLAYS BY A. P. CHEKHOV." Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, no. 23 (November 10, 2020): 305–17. http://dx.doi.org/10.46352/23036990.2020.305.

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The aim of this paper is to investigate the model of the figure of the hero in the plays of Anton Pavlovich Chekhov. In analyzing the model of the figure of the hero, four of the most significant plays by A. P. Chekhov were analyzed in consultation with the literature on the poetics of 20th century drama in order to gain a clearer understanding of how the dramatic world of characters was constructed. Specifically, the focus is on four dramas in four acts: "Three Sisters", "Ivanov", "Seagull" and "Uncle Vanya". For the sake of placing love in the key context of this work, the subject of research is not the drama "Cherry." The paper is entitled thesis on the functioning and construction of characters in dramas based on the principle of irony, and thus sets the goal of examining and proving the title thesis. In doing so, it is very interesting to deal with such a model of hero placed in dramatic situations from the perspective of A. P. Chekhov, a writer who writes his characters as a writer-analyst.

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Prince, Gerald, and Thomas G. Pavel. "The Poetics of Plot. The Case of English Renaissance Drama." Poetics Today 7, no. 1 (1986): 157. http://dx.doi.org/10.2307/1772095.

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Riggs, Larry W. "David Clarke.Pierre Corneille: Poetics and Political Drama Under Louis XIII." Romance Quarterly 43, no. 2 (April 1996): 118–19. http://dx.doi.org/10.1080/08831157.1996.10545331.

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Hughes, Linda K. "Alexander Smith and the Bisexual Poetics of A Life-Drama." Victorian Poetry 42, no. 4 (2004): 491–508. http://dx.doi.org/10.1353/vp.2005.0005.

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Bennett, Benjamin. "Print and the Poetics of Modern Drama (review)." Modern Drama 50, no. 4 (2007): 651–53. http://dx.doi.org/10.1353/mdr.0.0018.

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Orlić, Milan. "Crnjanski’s New Textuality: The Poetic Play Mask (1918)." Transcultural Studies 11, no. 2 (April 10, 2015): 216–41. http://dx.doi.org/10.1163/23751606-01102005.

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This essay is about the emergence of a new sensibility and a new textuality in Serbian Modernism/postmodernism, constituted by the poetic and prose works of Miloš Crnjanksi amongst other. A survey of earlier, 19th century Serbian prose and drama, demonstrates that the Modernist/postmodern poetics had its antecedents in the works of Jovan Sterija Popović and Đorđe Marković Koder, which demonstrates the continuity of Serbian literature through the all the phases inherent in European (French) literatures of the 19th and 20th century. Crnjanski’s early poetic play Mask is analysed through the sensibility of a new “world malaise” and the poetic principle of “Sumatraism” which make up Crnjanksi’s “Nihilism.” This is decoded as a sensibility close to the Absurd, which has consequences for the structure of Crnjanski’s subsequent works as well as for the development of Yugolsav/Serbian Modernism/postmodernism.

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Dimitrova, Zornitsa. "Aesthetic Codification of the ‘Unsavoury’ from Nāṭyaśāstra and the Poetics to Postdramatic Theatre." New Theatre Quarterly 31, no. 4 (October 9, 2015): 299–311. http://dx.doi.org/10.1017/s0266464x15000639.

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In examining the notion of entelechy – defined by Aristotle as the ‘final cause’ in drama – Zornitsa Dimitrova shows that depictions of ‘unsavoury’ content are only justified insofar as they are part of larger networks of aesthetic codification. The unsavoury cannot be an end in itself; neither can it function as an aesthetic category in its own right. Rather, it is a means related to pathos, or suffering, in Greek tragedy and bībhatsa, the ‘odious sentiment’ of the Sanskrit drama. Within such networks of codification, the purpose of the unsavoury is to carry forward the drama to an emotionally uplifting end: katharsis in the Poetics and ananda in Nāṭyaśāstra. This purposiveness – already visible in the entelechial nature of the dramatic plot – relates to a concept of mimesis implicitly understood as a term actional and interactionist in character. But only with the emergence of postdramatic theatre and the dissolution of plot does the unsavoury begin to function as an aesthetic category in its own right. Zornitsa Dimitrova is a doctoral graduate of Westfälische Wilhelms-Universität Münster and holds degrees in Indology, Philosophy, and English Literature from the Universities of Sofia and Freiburg. Her research interests include performance and ritual studies, dramatic theory, and mimesis.

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Anselment, Raymond A., and Ritchie D. Kendall. "The Drama of Dissent: The Radical Poetics of Nonconformity, 1380-1590." Yearbook of English Studies 20 (1990): 241. http://dx.doi.org/10.2307/3507550.

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Whitmarsh, Tim. "ATHEISTIC AESTHETICS: THE SISYPHUS FRAGMENT, POETICS AND THE CREATIVITY OF DRAMA." Cambridge Classical Journal 60 (September 3, 2014): 109–26. http://dx.doi.org/10.1017/s1750270514000062.

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The famous Sisyphus fragment of a tragedy or satyr play is one of the best known documents of ancient atheism, proposing as it does a social-constructionist theory of the emergence of religion as a form of social control. This article argues that the fragment should be seen not just as a philosophical contribution to Presocratic and sophistic thought on the gods, but also as a work of theatrical poetics: it alludes to Hesiod's foundational role in the articulation of Greek theology, self-reflexively explores the role of the literary author in the creation of belief systems, and unpacks the specific role of the theatre in the manufacture of images of divinity, not just through acting but also through technical effects such as the bronteion.

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Baker, Susan Read. "Pierre Corneille: Poetics and Political Drama under Louis XIII. David Clarke." Modern Philology 92, no. 2 (November 1994): 240–43. http://dx.doi.org/10.1086/392239.

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Happe, P. "The Drama of Dissent: The Radical Poetics of Nonconformity, 1380-1590." Modern Language Quarterly 48, no. 1 (January 1, 1987): 86–88. http://dx.doi.org/10.1215/00267929-48-1-86.

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Menzer, P. "Print and the Poetics of Modern Drama. By W. B. WORTHEN." Review of English Studies 57, no. 232 (July 11, 2005): 809–10. http://dx.doi.org/10.1093/res/hgl129.

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Lee, Seok-Ho. "Ngugi Wa Thiong'o's Postcolonial Orality: Towards a New Poetics of Drama." International Area Review 2, no. 2 (September 1999): 153–74. http://dx.doi.org/10.1177/223386599900200209.

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SHURINOVA, Natalya. "Poetics of the Episode "Fly" in the TV Drama "Breaking Bad"." International Journal of Cultural Research, no. 1 (2021): 82–93. http://dx.doi.org/10.52173/2079-1100_2021_1_82.

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Васильєв, Євген Михайлович. "Драма-сіквел: особливості поетики." Літератури світу: поетика, ментальність і духовність 7 (June 30, 2016): 51–63. http://dx.doi.org/10.31812/world_lit.v7i0.1115.

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The article deals with the lattest genre forms which have appeared in drama at the end of the XX century. The representative examples of play-sequel (G. Gorin, B. Akunin, O. Shishkin, I. Vyrypayev. T. Słobodzianek, T. Różewicz), are considered. Features of its poetics are analyzed.

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Kirillova, I. Yu. "CHUVASH DRAMA ABOUT THE GREAT PATRIOTIC WAR." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 603–7. http://dx.doi.org/10.35634/2412-9534-2021-31-3-603-607.

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This article is devoted to the analysis of Chuvash plays dedicated to the Great Patriotic War; reveals the peculiarities of their poetics and problems, shows conflict situations that reveal heroic characters. The main attention is paid to the analysis of the plays by N. Aizman, N. Terentyev, M. Yuhma, A. Vasiliev, M. Belov, N. Sidorov, and others. They are united by the themes of courage, heroism, the feat of Soviet people on the battlefield and in the rear. Whereas in the early decades dramatists focused their attention directly on combat events, modern war plays are filled with deep moral content, their plots are distinguished by the sharpness of moral choices, revealing the moral and ethical aspects of the individual.

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Bigildinskaya, Olga V. "Early plays by Anton Chekhov: a dialogue with Ivan Turgenev." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 166–71. http://dx.doi.org/10.34216/1998-0817-2021-27-1-166-171.

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This article tells about the influence of the poetics of Ivan Turgenev's works on the features of early Anton Chekhov’s drama – the student play “Platonov” (1880–1881), “Ivanov” (edited in 1888–1889) and “The Wood Demon” (1888–1889). The author studies in detail the degree of Chekhov's familiarity with the body of Turgenev's dramatic texts. The author reveals the unity of the chronotope of the noble nest, distant plot similarities (self-serving motivations of actions), and the thematic motif of self-condemnation of the characters. It is shown that in Chekhov's plays there are characters typologically close to Turgenev (Superfluous Man, Hamlet, Don Quixote, “Turgenev's girl”, sponger), and there are also such elements of the poetics of Turgenev's drama as monologue, the reception of interruptions, micro-plots. The article draws attention to the fact that Chekhov was the successor of the dramatic tradition established in Turgenev's work, and developed, rather than making direct borrowings. Thus was the nature of Chekhov's creative work, focused on a dialogue with the Turgenev heritage.

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.V, Praveen S. "Shakespeare-The Brand." International Journal of Emerging Research in Management and Technology 6, no. 8 (June 25, 2018): 179. http://dx.doi.org/10.23956/ijermt.v6i8.135.

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William Shakespeare is known to the world as one of the greatest dramatist in the history of English Literature. It is unusual to attribute either Shakespeare or his works in the world of marketing, yet it is the fact that, even after 450 years, Shakespeare is still a recognizable and powerful brand in the world of today. Shakespearean festival was still being celebrated all over the world. Royal Society of Shakespeare still performs Shakespearean dramas every year, in more than twenty languages. It shows the brand image of Shakespeare, having in the world today. Aristotle, a Greek Philosopher, in his attempt to understand poetry and drama, expressed his view in his famous work Poetics that, both drama and poetry appeals to the emotions of a reader and spectators. The success of a drama, depends on the extent to which, a dramatist can able to capture the emotions of the audience. It is necessary for writers to have a unique brand personality to market their art. Every writer has their own set of target audience and follows various strategies to satisfy them. This paper deals with, how Shakespeare employed different strategies to create his own brand image, that helped him positioning his art among his target audience, thus ending up creating one of the greatest and powerful brand image in the History.

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Philippov-Chekhov, Alexander О. "Peter Szondi about the crisis of drama." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 128–41. http://dx.doi.org/10.18522/2415-8852-2020-1-128-141.

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“Theory of Modern Drama: 1880–1950” (1956), a book by Peter Szondi (Peter Szondi, 1929–1971), who was a German literary scholar, originally from Hungary, has not yet been translated into Russian. Meanwhile, without this study, it is impossible to imagine a European discourse on drama, theatrical practice and its concepts in the second half of the 20th century. Analyzing the changes in the poetics of drama, which were first carried out by Ibsen, Chekhov, Strindberg, Hauptmann, and then by experimenters like Pirandello, Piscator, or Brecht, Szondi traced how the “decay of the formative principle of drama” occurs. According to Szondi, these processes are associated with profound changes in the style of thinking, so he saw a close connection between the weakening of the dramatic element in drama and the “aperspectivism” of Cezanne or Schönberg’s atonal music. The excerpt presented below is part of Szondi’s translated book, published in 2020 by V – A – C Press, which specializes in literature on art, cultural philosophy, and contemporary art and political practice.

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Virchenko, Tetiana, and Roman Kozlov. "Ukrainian Intellectual Drama of the 2000s." Revista Amazonia Investiga 10, no. 38 (April 12, 2021): 39–50. http://dx.doi.org/10.34069/ai/2021.38.02.4.

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In spite of the presence in contemporary scientific works, the terms ‘intellectual drama’ and ‘intellectual theater’ have blurred boundaries. The aim of the article is to identify productive genres and methods of intellectualization in Ukrainian drama of the 2000s. The category of genre was taken as the basis for material structuring. Genre analysis is combined with a poetics analysis of a literary work and an analysis of theatrical techniques that promote intellectualization. Regardless of the genre determined by a writer for a work, no matter what generation an author identifies himself with, the play-writers are common in the importance of keeping eye on the today’s world. But this does not condition the realism of the content of scripts or when performed on the stage. The study confirms that parable drama, intellectual and philosophical drama, biographical drama, drama of the absurd belong to the actual genres of intellectual drama. The synthesis of styles, arts, and acting provocations is dominated on the Ukrainian stage of the 2000s. Escalation of conflict is emphasized by means of special stage features (a moving platform, specific color or sound, etc.). The conflict of self-identification is among the variety of inner conflicts presented in plays.

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Woodward, Marshelle. "Ben Jonson's Sacramental Poetics: Manners as Mystery in his Poetry and Drama." Ben Jonson Journal 22, no. 1 (May 2015): 41–61. http://dx.doi.org/10.3366/bjj.2015.0121.

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Rendsburg, Gary A., Meir Sternberg, and Adele Berlin. "The Poetics of Biblical Narrative: Ideological Literature and the Drama of Reading." Journal of the American Oriental Society 107, no. 3 (July 1987): 554. http://dx.doi.org/10.2307/603520.

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Clements, R. E., and Meir Sternberg. "The Poetics of Biblical Narrative: Ideological Literature and the Drama of Reading." Modern Language Review 83, no. 2 (April 1988): 397. http://dx.doi.org/10.2307/3731690.

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Segal, Naomi, and Meir Sternberg. "The Poetics of Biblical Narrative. Ideological Literature and the Drama of Reading." Vetus Testamentum 38, no. 2 (April 1988): 243. http://dx.doi.org/10.2307/1517664.

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McHale, Brian, Meir Sternberg, and Robert M. Polzin. "The Poetics of Biblical Narrative: Ideological Literature and the Drama of Reading." Poetics Today 7, no. 1 (1986): 173. http://dx.doi.org/10.2307/1772101.

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Majumder, Doyeeta. "Absolutism without Tyranny in Gorboduc: The Changing Poetics of Tudor Political Drama." Renaissance Studies 32, no. 2 (February 6, 2017): 201–18. http://dx.doi.org/10.1111/rest.12281.

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Yi Myoung Hyoun. "Anton Pavlovich Chekhov's and Lee Ho-Chul's - Fictional Variation of Drama Poetics." Journal of Foreign Studies ll, no. 30 (December 2014): 429–60. http://dx.doi.org/10.15755/jfs.2014..30.429.

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BANNISTER, M. H. "Review. Pierre Corneille: Poetics and Political Drama under Louis XIII. Clarke, David." French Studies 47, no. 4 (October 1, 1993): 449. http://dx.doi.org/10.1093/fs/47.4.449-b.

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Kroca, David. "Poetics of Names of Drama Characters in Czech Theatre of the Absurd." Vestnik Tomskogo gosudarstvennogo universiteta. Filologiya, no. 45 (February 1, 2017): 186–92. http://dx.doi.org/10.17223/19986645/45/13.

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Fokin, Aleksandr. "Ilya Surguchev's theater in the history of Russian foreign theater." KANT Social Sciences & Humanities, no. 3 (July 2020): 40–51. http://dx.doi.org/10.24923/2305-8757.2020-3.5.

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Drama is defined as the main phenomenon of Ilya Surguchev's creative biography. ON this basis, the main chronology of his life and work during the period of emigration is presented. Biographical and historical-functional methods of literary research are used. The plays of the 1910s and 1940s, their themes and problems are characterized. An overview of the main premiere performances based on Surguchev's plays in theaters in Russia and Europe is presented. Questions of I.D. Surguchev's poetics of drama are raised; the prevailing genres, plots, themes, and stylistic dominants are highlighted. The role of Surguchev in the history of the theater of the Russian abroad is determined.

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Smirnova, Elena Aleksandrovna. "Vladimir Magar’s spectacle “Don Juan” (Lunacharsky Russian Drama Theatre in Sevastopol, 2006)." Культура и искусство, no. 6 (June 2020): 60–74. http://dx.doi.org/10.7256/2454-0625.2020.6.31526.

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The subject of this research is poetics of the spectacle “Don Juan” created by the stage director Vladimir Magar in Lunacharsky Russian Drama Theatre in Sevastopol in 2006. Analysis is conducted on the main peculiarities of the directing artistic manner: creation of fiction atmosphere and romantic plot, montage and musical means of structuring action, montage of literary-dramaturgical material. The author reviews fiction method and experience as the conditions for formation of an actor ensemble; examines the role of scenography, eurythmics, music and other elements of dramatic action. The article is based on the use of comparative-historical method, personal audience experience of its author and analysis of publications dedicated to the spectacle. The research of Vladimir Magars’ directing manner, which is insufficiently studied and can become illustrative for determination of patterns common to the regional theatrical life. This article is a continuation of a series of publication of the topic. Analysis of poetics of the spectacle “Don Juan” is important for understanding the fundamentals of his directing activity, which contributed to the fact that Sevastopol Theatre became a noticeable phenomenon within the Russian theatrical space.

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Shunikov, Vladimir L. "RUSSIAN LITERATURE IN THE DIGITAL AGE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 102–14. http://dx.doi.org/10.28995/2686-7249-2021-3-102-114.

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The article examines the influence of digital technologies on Russian literature. The author explores new poetic formations caused by Web impact. Transformation of the author’s and reader’s competencies, ideas about a literary work and its language are discussed. Web as a literary startup determines the further creative path of the writers. Network “navigators” that help the reader look around the current literary situation are named. The opposition “literature – network literature” leads to the literary phenomena, which are functioning only on Internet. The most significant of such projects, features of text generating and reception on Web are noted. The researcher points to the implementation of different sub-paradigms of modern literature (postmodern, neo-naturalist, avant-garde, neo-sentimentalist, post-romantic, etc.) using the principles of Internet communication. The most representative phenomena of Internet creative work are characterized: blog literature in its various incarnations, both the invariant features of the blog discourse – and the searches of modern authors using that form. Modernization of genre strategies, the precedent of network drama, influence of computer games on the literary poetics are considered. Language renovations, attempts to generate texts by neural networks and other experiments that form the “digital poetics” of the newer literature are discussed.

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Ісіченко, Архиєпископ Ігор. "Hybrid war on stage of Kyiv Mohyla Academy (1736—1737)." Слово і Час, no. 1 (February 20, 2020): 86–101. http://dx.doi.org/10.33608/0236-1477.2020.01.86-101.

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During the 1736/1737 academic year, Mytrofan Dovhalevskyi taught a course in poetics at the Kyiv-Mohyla Academy. According to the rules of the time, he prepared two school dramas, the texts of which survived — for Christmas and Easter. Five interludes were set for each drama. In the 3rd interlude to the Christmas drama and the 5th interlude to the Easter drama, the plot is based on the confrontation of Liakh (Pole) and Zhyd (Jew), oppressing Belarusian and Ukrainian peasants, with Cossack. Moskal (Moscovite) is a powerful ally of the Cossack. The propaganda sense of both interludes is revealed in the context of political conflicts of that era. During 1733—1735 Stanisław Leszczyński, a former ally of Hetman Ivan Mazepa, led the war for the royal throne of the Polish-Lithuanian Commonwealth. Most Ukrainian lands were then part of the Commonwealth. The Russian empire introduced troops into the territory of the Commonwealth and put on the throne Stanisław Leszczyński’s rival August III. Ukrainian citizens of the Commonwealth were prompted by Russians to revolt against Polish authorities. The Haidamaky movement emerged which Russia promised to support. The Cossacks of Zaporizhzhia in 1734 betrayed Hetman Pylyp Orlyk and came under the jurisdiction of the Russian empress. The interludes to the Mytrofan Dovhalevskyi’s dramas form the ideological basis for Russian aggression and future division of the Commonwealth. They impose on the spectators the idea of oppressing Ukrainians and Belarusians by Poles, complementing it with anti-Semitic nuances. Cossacks are encouraged to engage in aggression, interpreted as a liberation mission. These trends, identified still in the Baroque literature, were used in 2014 by the Russian Federation for motivating its incursion into Ukraine. The modern terminology defines such trends with the concept of ‘hybrid war’.

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Tindemans, Klaas. "The Politics of the Poetics: Aristotle and Drama Theory in 17th Century France." Foundations of Science 13, no. 3-4 (July 10, 2008): 325–36. http://dx.doi.org/10.1007/s10699-008-9131-1.

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Journal articles on the topic 'Poetics of drama'

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