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1
Zhang, Xiangyun. "La traduction du théâtre français en Chine." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 5, no. 2 (2007): 171–94. http://dx.doi.org/10.1075/forum.5.2.09zha.
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This article first presents a list of French dramas which have been translated into Chinese and performed in China. By analysing the list of works, the author attempts to nail down the factors which influence both the translation and the performance of French dramas in China. In addition to the selection of dramas made by the translators or the stage directors from the cultural perspectives, there are still specific requirements for the translated works to be performed on the stage in China. This article highlights the importance for the translation works to recover the performance implicit in the text of the original works. Meanwhile, the author explores the process of drama translation by taking examples of the Chinese translation of Le Tartuffe, the famous play written by Molière.
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Petridis, Sotiris. "TV miniseries or long-form film? A narrative analysis of The Haunting of Hill House." Journal of Screenwriting 11, no. 2 (2020): 207–20. http://dx.doi.org/10.1386/josc_00026_1.
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In the last decade, the television landscape has drastically transformed with the digitalization of the medium. Subscription video on demand platforms have started to produce original content and as such, are changing distribution and consumption patterns of contemporary TV series. Netflix, one of the main platforms that instigated this change, has systematically produced original drama and comedy content indented for binge-watching. The Haunting of Hill House is a recent example of these Netflix original miniseries. In this article, I analyse the overarching story of the series and argue that the structure of the narrative works more like a long-form film rather than a TV series. In doing so, I comment on the nature of television drama writing in this new binge-watching era.
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Dahlhaus, Carl. "What is a musical drama?" Cambridge Opera Journal 1, no. 2 (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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Lazirko, Nataliia. "GEORGE KAISER’S WRITING IN THE RECEPTION OF YURI KLEN." Polish Studies of Kyiv, no. 35 (2019): 201–6. http://dx.doi.org/10.17721/psk.2019.35.201-206.
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The given article deals with Klen’s research of the German dramatist George Kaiser. The main parameters of artistic universe of this author are presented in the article. There are also outlined the methodological strategies of research the German dramatist’s creativity by Yuri Klen – a well-known Ukrainian literary critic. Georg Kaiser is one of the brightest representatives of theatrical and literary expressionism. His plays are the unique phenomenon in the 20th century drama. His expressionism appeared to be the special one and the global and scope of plots allowed scientists to call G. Kaiser a «new myth creator». Among world scientists, who comprehended the features of author manner of this sign artist for history of world drama, a main place belongs to the Ukrainian literary critic – Yuri Klen. In his scientific work there is the article «George Kaiser», which an author compositionally divides into seven parts. Its pre-condition is an original metaphorical lineation (vivid registration of which is adopted from astronomy), structural-semiotics assertion that every writer creation has a basic idea or favourite main image, that can be found in many writings of the author. However, in the Ukrainian literary critic’s opinion, it is not impossible to say it on the first sight about George of Kaiser because every work of this author has a new incarnate idea, new and unexpected development of a plot, new and original interpretation of that problem which has been solved in his previous works. In the article “George Kaiser” by Yuri Klen the biographic approach can be highlighted while analyzing creative works of the German dramatist. The Ukrainian literary critic also outlines the secrets of psychology of the German artist creation in expressionism manner. Expressionism drama is always drama of ideas; therefore acting persons of this drama are not individuals, but types which helps writer to lead the general action of the characters. Yuri Klen asserts transformation of images in dramas by George of Kaiser, their original reduction up to separate characters and allegories: his characters lost the outlines of people and become symbols of idea, super individual creatures, typical samples, and logic of acting can be sacrificed for the sake of the higher logic – logic of composition and dramatic construction. Few times a researcher accents on closeness an artistic world view of the German dramatist to cubism: characters mainly don’t have the names, but appear on the stage under the names: a «father», «multimillionaire», «black», «yellow» – they are structural formulas. Summarizing these the structural-semiotics searches, Yuri Klen marks once again that in George Kayiser’s works can be found: 1) central idea of man renewing which is peculiar for all his creative work; 2) leading motive of escape-chasing and 3) element of contingency which manages events, that is a case-shove which suddenly gives dynamic of action and sets fire before a man as a distant lighthouse – dream about renewal. It is also possible to assert that researches of expressionism by some authors whose creation correlates with expressionism views demonstrates complete maturity of Yuri Klen to be a serious literary critic armed by the newest methodological approaches to study literature as theoretician and practician of literature studies.
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McMillin, Arnold. "The Prose and Drama of an Outstanding Poet, Voĺha Hapiejeva." Przegląd Wschodnioeuropejski 10, no. 2 (2019): 205–20. http://dx.doi.org/10.31648/pw.5474.
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This article reviews the prose and drama of Voĺha Hapiejeva up to 2018. The main themes of her work are: feminism, gender and sexual relations in a patriarchal society, and also various aspects of contemporary life, A Candidate of Science, she brings into her works, humorously, a variety of linguistic and grammatical forms. Her work is notable for its strong use of imagery, lively dialogues and many, especially in the plays, much absurdity. Without doubt Hapiejeva is not only one of boldest and most original of the promising Belarusian poets of our day, but also a very talented prose writer and dramatist.
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Griffin, Brent. "“Original Practices” and Jonson's First Folio." Ben Jonson Journal 25, no. 1 (2018): 19–31. http://dx.doi.org/10.3366/bjj.2018.0208.
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Over the past twenty years or so, performance-based efforts to recreate the staging conditions and production modes of Elizabethan/Jacobean playhouses through “original practices” (OP) have developed at a considerable rate. One has only to note the popular appeal of theatre companies working from Early Modern architectural replicas (like London's Bankside Globe or Virginia's Blackfriars) to recognize the pervasive influence of the “reconstructive Shakespeare” movement on our understanding and interpretation of Renaissance drama. Yet, as the name would suggest, the movement is too often grounded in a performance aesthetic predicated solely on Shakespeare's playtexts (indeed, for many, the 1623 Folio is followed with a near religious fervor). But truth be told, other playwright/practitioners of the era have far more to say on the matter of staging verse drama than Shakespeare, and made a point of publishing their thoughts directly through prefatory material, commendatory verses, pamphlets, etc. Fletcher and Heywood immediately come to mind, but this paper will focus on the most prolific critic of the period, Ben Jonson. Not to be overshadowed by the numerous commemorations of Shakespeare's death, 2016 also marked the 400th anniversary of the publication of Jonson's landmark First Folio, and a brief review of his 1616 Workes should provide ample occasion to challenge several of the “original practices” championed by bardocentric theatre companies and their educational auxiliaries.
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Richmond, Steven. ""And Who Are the Judges?": Mikhail Bulgakov Versus Soviet Censorship, 1926-1936." Russian History 33, no. 1 (2006): 83–107. http://dx.doi.org/10.1163/187633106x00050.
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AbstractMikhail Bulgakov is renowned for his challenge to the dry literary canons of the Soviet regime through his fantstical works of colorful content and unorthodox form, such as Sobach'e serd'tse (Heart of a Dog) and Master i Margarita. But Bulgakov is much mort than an exotic exception to Soviet puritanicalness. His works also include the highly practical and realistic, such as the tragic war-time works "Zapiski iungo vracha" (Notes of a Young Doctor) and Belaia gvardiia (The White Guad). Bulgakov's literary challenge to Soviet censorship also took direct forms. including two works that brazenly satire and examine the utterly taboo subjest of state censorship: the play, Bagrovyi ostrov (The Crimson Island) and Teaal'nyi roman (Theatrical Novel). Bulgakov's challenge to power also extendel to the epistolary, in the form of letters he sent to the Soviet government (and were read by Stalin) that contain attacks against the Soviet censorship bureau. In this real-life drama of Bulgakov versus Soviet censorship, we witness the icredible creativity and bravery of the artist, as well as discover his original and informative theory about how Soviet censorship operated. Let us begin our examina tion of this drama with the censorship bureau itself, how it first functioned and how it came to focus its sights on Bulgakov.
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Di Pastena, Enrico. "Il bavaglio e la parola. Note su una pièce allegorica di Alfonso Sastre." Caietele Echinox 39 (December 1, 2020): 189–209. http://dx.doi.org/10.24193/cechinox.2020.39.14.
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"In The Gag (1954, original title: La mordaza), Alfonso Sastre recovered the external stylistic features of a rural drama to protest against the censorship of the Franco regime which, at the time of the composition of the play, began to prohibit or oppose the staging of his dramas. Using cues taken from the crime news, mindful of the lesson by O’Neill in Desire under the Elms and refining previous personal experiences, Sastre wrote a sparse drama of unquestionable communicative efficacy, in which the situation of an entire country is evoked through the events of a family tyrannized by a father-master. The Gag opposes to the forced silence the responsible and revealing words of denunciation of a rebellious character and the confident words of its creator. He does not fail to reflect on the distortions that every winner imposes on language."
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Логинова, Е. Г. "The notion of the arts as “unnatural natural” communication (exemplified by the discourse of drama)." Иностранные языки в высшей школе, no. 3(54) (December 18, 2020): 88–96. http://dx.doi.org/10.37724/rsu.2020.54.3.008.
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В статье предпринимается попытка применить ряд положений когнитивной поэтики, семиотики и лингвистики к традиционным вопросам филологического анализа литературно-художественного дискурса, взятого как пример художественной коммуникации. Обосновывая понятие «неестественной естественности» художественной коммуникации, автор обращается к инструменту, способному обеспечить иной уровень анализа художественного дискурса, включающего исходный и трансформированный тексты (пьесу и ее сценическую интерпретацию), когда изучение смыслоформирования в едином коммуникативном пространстве происходит с учетом параллелизма форм, значений и прагматических установок говорящих. The article attempts to apply a number of provisions of cognitive poetics, semiotics and linguistics to the traditional philological analysis of literary works. Justifying the concept of the arts as “unnatural natural” communication (including literary works, theatrical performances, screen adaptions, paintings, etc.), the author relies on the key assumptions expressed in the works by Yu. Lotman, U. Eco, R. Barthes, R. Jacobson, T. van Dijk, M. Freeman and other scholars: “the second (modeling) system”; “literary pragmatics”; “oriented toward the expressive, the emotive and the aesthetic”; etc. The heterogeneous discourse of drama is used to exemplify the theoretical assumptions and so helps to grasp the idea of the arts as “unnatural natural” communication. Moreover, the author of the article speaks of semiotic resonance as a tool that can help to deepen the analysis of the meaning construction in the discourse of drama. Being a multifaceted phenomenon, semiotic resonance provides new perspectives for the analysis of the discourse of drama, when the study of the aesthetic effect of the communicative space as a whole takes into account the parallelism of forms, meanings and pragmatic attitudes of the characters in the original communicative situation and further communicative situations.
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Bignell, Jonathan. "Specially for Television?" Samuel Beckett Today / Aujourd’hui 32, no. 1 (2020): 41–54. http://dx.doi.org/10.1163/18757405-03201004.
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Abstract This article analyses tensions between medium specificity and intermediality in Beckett’s first original drama for television, Eh Joe (1966), which exploits features of the medium such as the spatiality of the studio, monochrome images and close-up. But its visual motifs also echo Beckett’s cinema debut, Film (1964), and uses of sound and voice from his radio plays. The public promotion of Eh Joe centred on its relationships with Beckett’s theatre plays, while Eh Joe’s first audiences adduced frames of reference from both theatre and television. Eh Joe works with the porosity of media boundaries and performatively renegotiates them.
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Hryhorchuk, Yulia. "AUTHOR’S PRAYER IN THE WORK OF WІRA WOWK". Polish Studies of Kyiv, № 35 (2019): 105–13. http://dx.doi.org/10.17721/psk.2019.35.105-113.
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The article is devoted to the analysis of the genre of the author’s prayer in the literary works of Wіra Wowk. The object of study for the first time was not only poetic, but also the writer’s prose and dramatic texts. The analysis of biographi- cal and literary works testified that the genre of prayer is an integral part of the Wіra Wowk’s work. This genre is multivariate embodied in the writer’s prose, poetry and drama. On the basis of the analysis of biographical and literary criticism, the organicity of the genre of prayer in the work of Vera Vovk and the specifics of his embodiment in prose, poetry and drama is emphasized. It is noted that short aphoristic verses and prayers are characteristic of poetry, and long prayers and meditations are characteristic of prose and drama. The writer puts prayers in the context of the work (characters’ prayers) or introduces them into the plot as inserted elements (author’s prayers). These are prayer-requests, thank-you prayers and prayers-glorification, and also prayers-confessions and prayer-reflexions. Their recipients are the Lord God, the Virgin Mary and the saints (Teresa of Lisieux, Francis of Assisi, Nicholas of Myra). The topics of these prayer texts cover the themes of creativity, spiritual quest, and the fate of the native land. The author’s prayers of Wіra Wowk also have a wide palette of artistic means, namely: biblical reminiscentism (introduction to the text of allusions and symbols from the Old and New Testament), synthesis of poetry and prose (to reproduce the dialogue be- tween earthly and heavenly), symbolism and metaphorical, thanks to which in a few words it is possible to express a deep meaning. Especially brightly these funds are reflected in the poetry of Wіra Wowk. These are verbal prayers and prayers without words (colors, sounds of musical instruments), as well as prayer speech and silence prayer, prayer acts and prayer contemplation. In Wіra Wowk’s poetry there is a distinct and unusual image of the Creator God, embodied in the symbolic guises of the Master, the Gardener, the Jeweler, the Astronomer, the Builder, the Film Director, whom no one sees, and the Captain on the river of life. The analysis shows that the genre of prayer is an integral component of the artistic thinking of Wіra Wowk. The literary prayers of the writer are not copies of canonical texts, but are original works.
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Ogunleye, Foluke. "A Male-Centric Modification of History; Efunsetan Aniwura Revisited." History in Africa 31 (2004): 303–18. http://dx.doi.org/10.1017/s0361541300003508.
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Historical drama can be described as a form of drama which purports to reflect or represent historical proceedings. Since time immemorial writers have combined fiction and history in creative works. Lawrence Langner has ascribed the popularity of historical drama to the desire of the theatergoer to spend an evening in the company of kings, queens, and other historical personages; the opportunity to become familiar with far greater events than those which take place in the lives of ordinary people; and that historical plays recreate great deeds done by great personages in the past. Historical facts are then creatively adapted and made available in play form to the audience. Adaptation has been defined as “the rewriting of a work from its original form to fit it for another medium … The term implies an attempt to retain the characters, actions, and as much as possible of the language and tone of the original…” The history play is also defined as “any drama whose time setting is in some period earlier than that in which it was written. We can also go further to describe the history play as one “that reconstructs a personage, a series of events, a movement, or the spirit of a past age and pays the debt of serious scholarship to the facts of the age being recreated.Judging from the foregoing, Akinwunmi Isola's play, Efunsetan Aniwura falls into the category of historical drama, treating as it does the story of the eponymous heroine who was the second Iyalode (queen of women) of Ibadan and who died on 30 June 1874. Prominent themes in Yoruba historical plays include war, conflict, and class struggle. Olu Obafemi has declared that the dramatization of the history, myth, and legends of the Yoruba community forms the bulk of the themes of Yoruba drama. These factors are vividly portrayed in Akinwunmi Isola's plays. Akinwunmi Isola is one of the most prolific playwrights who use their mother tongue to write plays in Nigeria. He is a Professor of Yoruba language and he uses the Yoruba language in writing his plays despite the fact that he is proficient in English and French languages.
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Ben‑Shahar, Rina. "The Phonetic Representation of Spoken Language in Modern Hebrew Literature." TTR : traduction, terminologie, rédaction 8, no. 2 (2007): 249–73. http://dx.doi.org/10.7202/037226ar.
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Abstract The Phonetic Representation of Spoken Language in Modern Hebrew Literature – Written language normatively transmits the full graphic pattern of a word without deviating from the spelling rules of a particular language. However, when graphic signs are intended to represent the spoken language used in natural conversation, the question of the phonetic imitation of spoken language in written texts arises. The present article deals with the position of spoken language in Hebrew narrative fiction and drama, and the modes of its representation from 1948 on, including both original Hebrew works and those translated from English into Hebrew. This issue is discussed against the background of such relevant broader issues as: the special situation of Hebrew, which had long been used as a written language only, devoid of the varied functions of spoken language; linguistic-stylistic norms in Hebrew literature from 1948 on and the changes they underwent; Hebrew writers' and translators' awareness of the principles of spoken language in general, and those of the Hebrew vernacular in particular; differences in dialogue formation between various literary sub-systems: drama as distinct from narrative fiction and original literature as distinct from translated literature, including some cross-sections of both. The issues are discussed from both the synchronic and diachronic points of view.
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Wesker, Arnold. "The Nature of Theatre Dialogue." New Theatre Quarterly 2, no. 8 (1986): 364–68. http://dx.doi.org/10.1017/s0266464x00002372.
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‘What makes one sentence into a line of poetry and another sentence dull and lifeless?’ This was one of the questions Arnold Wesker set out to answer from the point-of-view of the practising playwright rather than the critical theorist, when he delivered the following pape; to the biennial conference of the International Association of Theatre Critics in Rome in 1985. He examines the constituent elements of stage dialogue in supposdly ‘raistic’ drama and th rigorous if not always conscious process of artistic selection and shaping diotated, in his own practice, by the natur of the originating experence. He illustrates his argument with extracts from his own works. including his most recently staged play in London, Annie Wobbler – the first in a now-completed cycle of four plays for on woman of which Four Portraits, Yardsal, and Whatever Happened to Betty Lemon? are the other parts. A frequent contributor to the original series of Theatre Quarterly, Arnold Wesker's earliest works, the plays of the ‘Wesker Trilogy’ and The kitchen, were milestones in the creatior of the ‘now British drama’ of the late fifties, and he has continuec to write for the theatre in a wide range of styles – which have been known to disturb the ‘expectations of realism’ of some of the critics he was here addressing…
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Uzzaman, Sharif. "Underlying Aspects in Tagore’s Translation Of Red Oleanders: A Critical Reading." Journal of Critical Studies in Language and Literature 2, no. 4 (2021): 20–26. http://dx.doi.org/10.46809/jcsll.v2i4.74.
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Though Rabindranath Tagore’s works have been studied and praised for decades around the world, his struggles to reconcile cultural as well as linguistic differences between English and his native tongue, Bengali through translations of his works have largely been overlooked. This paper though a comparative study between Tagore’s drama Raktakarabi and its translated version Red Oleanders, seeks to find out how Tagore deals with various cultural, literary and linguistic issues that have arisen during the translation and whether the differences between two languages with distinct natures and unique histories have forced him to make fundamental changes to the play. The research also aims to critically look at the reasons behind Red Oleanders’ apparent failure in the west and takes into account relevant translation theories to discuss how various changes to the play have contributed to creating stark contrasts between the original and the translation.
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Bibik, Barbara. "O Antygonie i „Antygonie” trochę inaczej." Ruch Literacki 53, no. 2 (2012): 155–70. http://dx.doi.org/10.2478/v10273-012-0009-z.
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Summary Probably no other classical tragedy has as firm a place in the Polish consciousness as Antigone. The educated public is familiar with some quotes and interpretations which have been put in circulation by the Polish translations of Sophocles’ drama. What do we really know, though, about the play and its main characters? Do we understand their words, attitudes, and behaviour well (as our understanding depends on the varying accuracy of the translations)? This article revisits and reexamines these entrenched interpretations; it looks again at words and metaphors in the original text with a view of finding a fresh perspective on that extraordinarily important and inspiring drama.
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Azeeva, Irina V., and Artem A. Perfilov. "Post-Soviet new drama: macro- and microcosm of Konstantin Steshik." World of Russian-speaking countries 1, no. 7 (2021): 82–92. http://dx.doi.org/10.20323/2658-7866-2021-1-7-82-92.
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The authors focus on the phenomenon of drama written by Konstantin Steshik, a young Belarusian playwright who writes in Russian. Describing and analysing this phenomenon is the aim of the researchers. The lack of research into the playwright's work is the reason for the novelty of the study. The relevance is determined by the demand for Steshik's plays in contemporary Russian theatre. The playwright's creative competence is proved by his numerous victories in Russian and international drama contests. The authors consider Stesik's work in the unity of the playwright's macro- and microcosm: the inner world of the characters and the circumstances they find themselves in. One of the authors' important tasks is to determine the foundation for Steshik's work. A historical and theatrical overview from Soviet Belarusian drama to the works of the authors associated with the well-known Belarusian Free Theatre association reveals not exactly the foundation, but the soil on which the phenomenon involved mainly grows. The authors note the close connection of Steshik's work to the phenomenon of post-Soviet «new drama». With its appearance on the territory of the CIS countries, social problems come to the forefront in contemporary theatre, and there arises a theme of reflection on the past, both in a positive and a negative way. In the final part of the article, the authors analyse the peculiarities of Steshik's poetics. The analysis made it possible to register the striking artistic uniqueness of the playwright's creative style. Steshik's plays clearly expand the scope of the post-Soviet «new drama». His voice stands out against the sharp social discourse of contemporary playwrights. Vivid metaphors, close to the traditions of «magic realism» literature, are mixed with psychological naturalism in an original way
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Hartman, Michelle. "Short Arabic Plays." American Journal of Islam and Society 21, no. 4 (2004): 121–23. http://dx.doi.org/10.35632/ajis.v21i4.1758.
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Like most of the other anthologies edited by Salma Khadra Jayyusi, ShortArabic Plays is a collection of translated Arabic literary works focusedaround one particular genre. This anthology, part of Jayyusi’s Project forthe Translation of Arabic (PROTA), will bring attention to a dynamic, butunderstudied, genre of Arabic literature. This diverse collection consists of20 short plays by 15 playwrights, demonstrating the breadth of the genreand its interest not only to scholars and specialists, but also to those concernedwith literature more generally.One problem with this particular anthology, however, is that Jayyusi’sseven-page editor’s introduction barely manages to explain the impetusbehind the project, make her acknowledgments and outline the majorthemes in short plays in general – let alone contextualize the plays includedin this volume. Although it includes short biographies of the editor, contributors,and translators (after a brief glossary of Arabic words), there are nointroductions to the individual works or even such bibliographic indicationsas their original titles and dates of publication. In contrast, other anthologiesby Jayyusi – for example, Modern Arabic Poetry: An Anthology (ColumbiaUniversity Press: 1987) and Anthology of Modern Palestinian Literature(Columbia University Press: 1992) – are accompanied by useful and lengthyintroductions written by Jayyusi herself, as well as brief introductions toeach individual contribution.Likewise, the anthology most closely related to this one, ModernArabic Drama: An Anthology, coedited with Roger Allen ...
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Grošelj, Nada. "Two 17th century Jesuit plays in Ljubljana inspired by English literature." Acta Neophilologica 37, no. 1-2 (2004): 61–71. http://dx.doi.org/10.4312/an.37.1-2.61-71.
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Jesuit teachers, whose members came to Ljubljana in the late 16th century, placed great emphasis on the production and staging of the school drama. Despite the domination of religious themes, the range of its subject matter was wide and varied. The article discusses two plays which derived their subject matter from English literature, namely from Bede's Ecclesiastical History of the English People and Holinshed's Historie of Britain.The texts themselves are lost, but in the case of the Holinshed-inspired work (a version of the King Lear story), a detailed synopsis has been preserved. The article examines the synopsis and the extant manuscript reports about the plays, the original English sources, and the treatment of the two works in contemporary scholarly treatises.
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Mateo, Marta. "Variations on Much Ado About Nothing: Beatrice and Benedick in Target-Language Adaptations." Linguaculture 2015, no. 1 (2015): 24–44. http://dx.doi.org/10.1515/lincu-2015-0034.
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Abstract Drama texts are characterized by the transient nature of their stage reception and their malleability. This implies a close relationship with the context of performance while it also explains why they are frequently subject to varying degrees of adaptation. This article will study variations on Shakespeare’s comedy Much Ado About Nothing, first revising different approaches to its performance in the original language, and then analysing two adaptations which involve translation: a Spanish play, Jacinto Benavente’s Los favoritos, and a French opera, Hector Berlioz’s Béatrice et Bénédict, both inspired by the two most attractive and witty characters in the bard’s text, Beatrice and Benedick, who have been the object of a number of versions and adaptations and therefore encourage exploration in different contexts. Slightly different ways of dealing with the main elements in the play will be observed in these two target texts, for instance regarding the general tone, or issues such as the concepts of marriage and love; ultimately, these aspects also highlight the suppleness of drama texts, particularly of classic works, which tend to move easily between languages and cultures, historic periods or artistic genres.
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Rocconi, Eleonora. "Before the Première: Recording the Performance of Ancient Greek Drama." Dramaturgias, no. 5 (October 27, 2017): 10–21. http://dx.doi.org/10.26512/dramaturgias.v0i5.8103.
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Ancient Greek theatre, a multimedia spectacle (originally conceived for a unique performance) which involved words, music, gestures, and dance, has always been a challenge for scholars investigating its original performance. This paper explores the possibilities of the performative elements of the plays to be recorded during their theatrical staging, that is, before their première. More in detail, it examines the probability that — given the rhythmic and melodic nature of ancient Greek language and the descriptive and/or perlocutionary character of the scenic information within the texts — the authors could inscribe music and gestural expressiveness into the linguistic code. The high level of ‘performativity’ implied in these ancient texts probably delayed the need for a technology that could record their different multimedia components.
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Collard, Christophe. "Living Truthfully: David Mamet's Practical Aesthetics." New Theatre Quarterly 26, no. 4 (2010): 329–39. http://dx.doi.org/10.1017/s0266464x10000631.
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Although better known as a playwright and film-maker, David Mamet started his artistic career as a teacher of acting. In this essay Christophe Collard contextualizes the influences, evaluates the implications, and criticizes some of the implementations of his ‘Practical Aesthetics’ by bridging the divide between Mamet's aesthetic theory and its concretization in practice. Often mistaken for a disingenuous appropriation of the so-called ‘Stanislavsky System’, Mamet's derived ‘Method’ arguably is more functional than original. Nevertheless, Collard argues that his confusion between various interpretations of these precepts is deliberate and serves primarily a reflexive purpose, as illustrated here with an analysis of Mamet's rehearsal play A Life in the Theatre. Christophe Collard works as a research fellow in American theatre and drama at the Vrije Universiteit Brussel (Free University of Brussels), where he recently completed a doctorate about media and genre crossings in the work of David Mamet.
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Bozieva, Naima Borisovna. "Poetry of Boris Kagermazov." Litera, no. 1 (January 2021): 64–73. http://dx.doi.org/10.25136/2409-8698.2021.1.34521.
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The subject of this article is the analysis of poetry of Boris Kagermazov. The object of this research is the genre, plot, composition, and thematic peculiarities the epic works of Boris Kagermazov. The goal of this article is to reveal the specific features of the poems, their compositional structure, novelties s in poetics, and role of this genre in the works of Boris Kagermazov. Detailed examination is conducted on peculiarities of the poems “Echo of the War”, “Grief and Anger”, “Harmonist”. Attention is given to the analysis of poetic theme and problematic of the poems, as well as to their composition and artistic skill of B. Kagermazov. The relevance of the selected topic is defined by the crucial role of B. Kagermazov in evolution of the genre of poem in the Kabardian-Circassian literature of the XX century, the depth of artistic conceptualization of the historical process, and embrace of the system of philosophical, spiritual- ethical, and aesthetic values of his ethnic group. The acquired results may serve as the theoretical foundation in the further examination of the works of B. Kagermazov and studying the Adyghe poetry, namely lyrical and lyrical-epic works; their practical application can be found in specialized courses, research works of the pedagogues, postgraduates and students. The conclusion is made on the novelties introduced by the poet in creation of original modifications of the poem, which is reflected in the diffusion of genres, simultaneous use of certain elements of lyrics, epic, and drama. The poet's artistic pursuits made significant contribution to enrichment of the national literature.
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Berehova, Olena. "Instrumental Theater in the Modern Ukrainian Composers’ Creativity." Culturology Ideas, no. 14 (2'2018) (2018): 102–8. http://dx.doi.org/10.37627/2311-9489-14-2018-2.102-108.
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Relevance of research. Instrumental theatre as a specific phenomenon of musical creativity was first recognized in the mid-1960s. Researchers note the following features of the instrumental theatre: the search for a new musical language; the presence of sound drama; appeal to the voice and the word as a background or semantic subtext; hidden polyphony; openness to protest and provocation; the stage game of the musicians-performers. However, this original artistic phenomenon remains little investigated in Ukrainian musicology. The purpose of the article is to actualize the samples of the instrumental theatre in Ukrainian musicology, presented in the works of L. Yurina, S. Zagitchka and S. Yarunsky, and based on the analysis of new works to conclude the directions of the development of contemporary musical thinking. Methods of the research – analytical, the complex of musicological methods’ research (based on the classification of works by the number of participants). Conclusions. Regardless of the genre variety, practically for all considered opuses, characteristic fixation in the scores of the smallest nuances of execution is common. Changing the paradigms of writing, performing and perceiving music, in many works the spectacular factor dominates over the actual musical, the increasing visualization and theatricalization of the musical process became evidence of the transformation of modern musical thinking. Practical significance. The instrumental theatre is a relatively new phenomenon both in world culture and in Ukrainian music. Further research of this phenomenon will help not only to distinguish its specific features, but also to realize new spiritual constants of the present.
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Lamzina, Anna Vladislavovna. "To the problem of reception of Shakespearean motifs in dramaturgy of Anna Akhmatova." Litera, no. 12 (December 2020): 84–91. http://dx.doi.org/10.25136/2409-8698.2020.12.33685.
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The subject of this research is the Shakespearean motifs in dramatic compositions of Anna Akhmatova. The research material contains the works of later period – draft of a movie script “On Pilots, or the Blind Mother”, and drama “Enūma Eliš”, which was destroyed and later restored by the author with numerous authorial commentaries and remarks. Akhmatova carefully examined the “Shakespeare question”, was familiar with his texts in the original, as well as translated a passage from “Macbeth”. She was well-versed in the historical connotations of Shakespeare's tragedies, considering Mary Stuart the prototype of Queen Gertrude and Lady Macbeth, and at the same time, rejected this image applicable to herself and her “alter ego” in literature. The main conclusions of this work consists in determination of the peculiar semantic tone of the set of motifs associated with “Hamlet” and “Macbeth” in dramaturgy of Anna Akhmatova, which includes: usurpation of power and envy of the rightful heir, mother – son conflict projected not only on Shakespeare's dramaturgy, but also on mythology, and through mythology on the author's poetry, motif of “drama within drama”, where masks and pseudonyms disguise the inward nature of the author. The direct and indirect quotations from “Hamlet” and “Macbeth” correlates the indicated set of motifs with biography of the author in “On the Pilots, or the Blind Mother” and “Enūma Eliš”, which substantiates the novelty of this research.
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Karaçoban, Atanas, and Patricia Denisa Dita. "Painting, Poetry and the Interference of the Genres in English Art: The Case of William Blake." Border Crossing 10, no. 1 (2020): 29–42. http://dx.doi.org/10.33182/bc.v10i1.931.
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Throughout the history of Western culture and art, there are numerous examples of those who, in their creativity, went beyond the limits of a particular art, embarking instead on attempts to combine in one artistic discourse the practices of various arts, such as music and poetic text, drama and dance, literature and sculpture, literature and painting, and so on. One of these artists is William Blake, acclaimed as a major poet and painter of romanticism in English and world art. He is accredited as the founder of a whole new and original method of producing artistic works, called “illuminated printing”, which is a remarkable combination of poetic text, decoration, and picture. Apart from revealing Blake’s appurtenance to romantic tradition, the present study aims to present the specificity of his technique and, primary, to disclose the ways in which it combines the artistic practice of poetry with that of painting as to render and strengthen the meaning by mutually sustaining and illuminating each other.
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Blatanis, Konstantinos. "The Politics of Violence and the Mediatisation of Urban Spaces on Stage: Anna Deavere Smith’s Twilight: Los Angeles, 1992 and José Rivera’s Marisol." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 9 (May 1, 2016): 94. http://dx.doi.org/10.12681/syn.16227.
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Interest in this paper centres on two exemplary cases of two entirely different modes of dramatisation and theatrical practice which, nonetheless, share a common goal. The two works studied here aim at a critical reconsideration of the political issues which surround intensely violent events that have marked American mega cities over the past three decades. Furthermore, both plays aspire to articulate an original statement on the ways in which these issues routinely fall prey to the hegemony of monolithic and sterile media representations of urban spaces. Anna Deavere Smith’s vigorous exploration of the reserves of documentary drama and theatre in Twilight: Los Angeles, 1992 (1993) is read alongside and juxtaposed to José Rivera’s innovative and exceptional use of magic realism for the stage in Marisol (1992). The question of political efficacy in both cases is thoroughly examined here in relation to how profitably these works showcase acts of interrogating mass media appropriations of identified city riots and instances of social unrest. Attention is devoted to the ways in which Smith’s verbatim documentation of the city in turmoil as well as Rivera’s surreal and dystopian account of liminal experiences of disenfranchised urban constituents may lead audience members to reassess their own habits of negotiating political demands and relating to moments of crisis.
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Pankina, Eleva V., and Anastasia S. Privalova. "INTERPRETATION OF THE LIBRETTO BY PIETRO METASTASIO IN “ARTAXERXES” BY THOMAS AUGUSTINE ARNE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 156–71. http://dx.doi.org/10.17223/22220836/40/13.
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Among the dramatic works of Pietro Metastasio libretto “Artaserse” (1730) occupies a leading position in the number of operas created on its basis. Among them is also the first opera-seria in English by Thomas Augustine Arne “Artaxerxes” (1762). The libretto of Metastasio was adapted for the English stage, probably by the composer himself. In the process of working on the libretto, Arne, preserving all the key points, made significant changes in the piece of Metastasio. Obviously a significant reduction of the text of Metastasio, is associated primarily with the exception of Megabise character and all his scenes, which entails underlining non-contentious lyrical plan, and strengthening another character – Rimenes, has incorporated function and part of the party Megabise. The total number of arias almost the same libretto by Metastasio with the change of their distribution characters: cut the Aria of the main character of Artaxerxes, of the secondary of Artabanes and Semira, added arias lyric couple Mandane and Arbaces. As a result, the plot is re – centered in the direction of the drama of lovers, which distinguishes the play of Arne from the original Metastasio-drama of feeling and duty, fully revealed in each character. In this case, arias are differentiated into those close to the original in semantic and textual relations, close in meaning, but inaccurate in text, and those whose content only remotely resembles the original. Arne in most of the arias kept the exact or close to the original text, five arias were removed, three arias were created by the composer. The number of ensembles in the processing of Arne has increased, and principally in the main lyrical pair; a significant innovation is the Quartet, which replaced the complex compositional scene of the judgment. Recitatives and recitative scenes are solved much more concisely, concentrated and restrained in comparison with the text of Metastasio. The changes in the libretto are intensifying as we approach the finale of the Opera – we should talk about the growing dynamization of the action. As a result of the revision of the libretto in the version of Arne, it became much more compact than the original Metastasio, while maintaining all the most significant plot twists. The shift of semantic and functional accents is also carried out by changing the number of solo numbers of the characters. The volume and quality of changes in the source of the libretto suggests that the composer did not plan to write the “next” Italian “Artaserse”, but worked deeply on its text with the aim of the most organic adaptation for the English stage.
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B.B. Nimanuho, Maria Salvatrix. "THE ANALYSIS OF NON-LITERAL MEANING IN CHRISTMAS CAROL BY CHARLES DICKENS." JURNAL ILMIAH BAHASA DAN SASTRA 4, no. 2 (2019): 104–15. http://dx.doi.org/10.21067/jibs.v4i2.3182.
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This study investigates non-literal meaning in ‘Christmas Carol’ story written by a famous British author, Charles Dickens. This study used a descriptive qualitative method. The data were taken or collected from words, phrases, and sentences on ‘Christmas Carol’ novella, without reducing, adding, or changing any parts from the original source. The data were analyzed to answer three research questions: (1) What types of non-literal meaning are found in Christmas Carol story? (2) What are the interpretations of those non-literal meanings found in Christmas Carol story? (3) What is the most dominant type of non-literal meaning found in Christmas Carol story? In order to avoid bias, validator triangulation was used. The study found 11 idiom, 14 Simile, 6 Hyperbole, 6 Alliteration, 5 Personification, 3 Anaphora, 3 Onomatopoeia, 2 Irony, 2 Synecdoche, 2 Sarcasm, 1 Metaphor, and 1 Litotes. Simile was the non-literal meaning’s type which was mostly used in the story, although the percentage was still less than 50%. These findings indirectly could help the readers to understand deeper the message or the story that the author wants to convey. It is suggested for future researchers to investigate the non-literal meaning of others literary works such as tale, folklore, fairy tale, short-story, fable, etc. and media such as movie, drama, speech script etc. It is because other type of non-literal meaning and different ways of using them could be found in these literary works and media. This study will improve our understanding about non-literal meaning. 
 
 Keywords: Semantics, Non-Literal meaning, Christmas Carol, Novella, Charles Dickens
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Miazga, Krystyna. "Novecento, celui qui n’existait pas." Quêtes littéraires, no. 2 (December 30, 2012): 124–33. http://dx.doi.org/10.31743/ql.4633.
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The division of the article into three parts represents the three phenomena of absence present in Novecento, a work of Alessandro Baricco. First, the author discusses the peculiar existence of a main character, which, on the internal level of the story told in the book, is full of absence. On the external level, the author focuses on the manner of narration and stage performance (didascalia). His second scope of interest is the lack of author’s unanimous statement concerning the text genre, as well as the interspersion of important elements of drama, theatre and both, pure narrative and music forms. This, recently quite popular phenomenon, has been called hybridity. It allows the juxtaposing of contrasts, joining of contradictions and departures from the accepted specific rules in favour of artistic generic disarray. Moreover, this part of the paper stresses the difference between the original title and its French translation. The extra information added in the French version highlights the lack of precision in the original title. This significantly influences the readers’ choice. The third phenomenon discussed in the article is music. It has its special place among Baricco’s works. In Novecento, music is the second, after the pianist, protagonist. It can be even treated as equally important. However, the lack of a musical code (a proper way of communication) reduces the domination of music. By using a linguistic sign, the author gave music an important function – being the catalyst and medium between what exists but cannot be seen and what can be felt but cannot be expressed in words. Absence, perceived by human senses and the inadequacy of verbal expression, is elicited through music and, paradoxically, it becomes present.
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Vraukó, Tamás. "Code switching and the so-called “assimilation narrative”." Linguistics Beyond and Within (LingBaW) 4 (December 30, 2018): 173–81. http://dx.doi.org/10.31743/lingbaw.5673.
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In literary theory, the works of (ethnic) minority authors–and similarly, the works of authors dealing with minorities–are often referred to as “assimilation narrative.” This term tends to suggest that minority authors, who write in the language of their country, seek a place in society through assimilation. Assimilation, however, means melting up in the majority nation by adopting all the values, customs and way of life characteristic of the majority, and abandoning, leaving behind, giving up the original traditional values, ethics, lifestyle, religion etc. of the minority. Assimilation means disappearing without a trace, continuing life as a new person, with new values, language, a whole set of new cultural assets. In this paper an effort is made to show that this is in fact not what many of the ethnic minority writers look for, so the term assimilation narrative is in many, although certainly not all, the cases, erroneuosly applied. It is justified to make a distinction between assimilation and integration narratives, as the two are not the same. In the paper examples are provided from Hispanic-American literature (Mexican-American, Puerto Rican and Dominican), across a range of genres from prose through drama to poetry, and also, examples are discussed when the author does in fact seek assimilation, as well as stories in which neither assimilation, nor integration is successful.
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Korneyeva, T. A. "Nominals with Zero Suffixation in Anna Akhmatova’s Early Poems." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 162, no. 5 (2020): 26–32. http://dx.doi.org/10.26907/2541-7738.2020.5.26-32.
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Zero suffixation in Anna Akhmatova’s poetic texts was studied. The textual analysis of A. Akhmatova’s early poems rich in nominals with various types of zero suffixation was performed. Comparison with her later poems was carried out. On the one hand, this approach shows A. Akhmatova’s desire to overcome the traditions of symbolism and her attempts to develop an original style. On the other hand, nominals with zero suffixation clearly prevailed in A. Akhmatova’s early poems as compared with the later works. Particular attention was paid to the role of nominals with zero suffixation in the poetic space organization of two poetry collections: “Evening” (‘Vecher’) and “Beads” (‘Chetki’). We considered lexical, word-building, syntagmatic, grammatical, stylistic, tropeic, and other features of derivatives of zero suffixes in these poetry collections. It was revealed that nominals with zero suffixation were mainly used as a means of concentration of meanings and embodiment of the special drama of the poet’s lyrical monologue. The results of the research are important for expanding the knowledge on the text-forming function of word formation and, in particular, nominals with zero suffixation.
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David, ZdenĚk V. "Utraquists, Lutherans, and the Bohemian Confession of 1575." Church History 68, no. 2 (1999): 294–337. http://dx.doi.org/10.2307/3170859.
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The purpose of this article is to address the controversial issue of the status of the Utraquist Church in the Kingdom of Bohemia in consequence of the drafting of the Bohemian Confession in 1575. The chronological scope is limited to the period up to 1609, when the issuance of the Letter of Majesty in 1609 formalized the gentlemen's agreement of 1575 and altered the ecclesiastical structure accordingly. According to Czech historiography, the parliamentary action of 1575– which granted toleration, albeit tacit and conditional, to the Lutherans and the Bohemian Brethren—represented a moment of truth for traditional Utraquism, which dated to the original Bohemian Reformation. On the one hand, the Utraquists' choice was to reaffirm its late medieval reformist tradition that preserved the traditional liturgy (including the seven sacraments), a belief in the sacramental episcopate and priesthood in a historic apostolic succession, and the belief in the efficaciousness of good works in the drama of salvation. On the other hand, their choice was to embrace the Lutheran Reformation, which rejected all the doctrines just enumerated.
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Nakatani, Mori. "The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 69–83. http://dx.doi.org/10.18778/2083-8530.21.05.
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Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.
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Nakatani, Mori. "The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 69–83. http://dx.doi.org/10.18778/2083-8530.21.05.
Full textAbstract:
Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.
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Rodiņa, Ieva. "Vēsturiskā atmiņa Latvijas teātra jaunās paaudzes mākslinieku darbos: izrādes „Dvēseļu utenis” piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 269–75. http://dx.doi.org/10.37384/aplkp.2020.25.269.
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The aim of the research “Historical Memory in the Works of the New Generation of Latvian Theater Artists: The Example of “The Flea Market of the Souls” is to focus on the current but at the same time little discussed topic in Latvian theater – the change of generations and the social processes connected to it, that are expressed on the level of world views, experiences, intergenerational relationships. Most directly, these changes are reflected in the phenomenon of historical memory. The concept of “postmemory” was defined by German professor Marianne Hirsch in 1992, suggesting that future generations are closely related to the personal and collective cultural traumas of previous generations, which are passing on the past experience through historical memory, thus affecting the present. Grotesque, self-irony, and focusing on socio-political, provocative questions and themes are the connecting point of the generation of young Latvian playwrights born in the late 1980s and early 1990s, including such personalities as Jānis Balodis, Rasa Bugavičute-Pēce, Matīss Gricmanis, Justīne Kļava, etc. However, unlike Matīss Gricmanis or Janis Balodis who represent the aesthetics of political theater, in Justīne Kļava’s works, sociopolitical processes become the background of a generally humanistic study of the relationships between generations. This theme is represented not only in “The Flea Market of the Souls”, but also in other plays, like “Jubilee ‘98” and “Club “Paradise””. The tendency to investigate the traces left by the Soviet heritage allows to define these works as autobiographical researches of the identity of the post-Soviet generation, analyzing life in today's Latvia in terms of historical memory. Using the semiotic, hermeneutic, phenomenological approach, the play “The Flea Market of the Souls” and its production in Dirty Deal Teatro (2017) are analyzed as one of the most vivid works reflecting the phenomenon of historical memory in recent Latvian original drama.
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Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth." Muzikologija, no. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.
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Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the second and final 1929-1939), followed by Kostana (1928), Peasants (1951) and Fatherland (1960). Konjovic's mature operas are characterized by his masterful handling of form, both in close-ups and in detail, as well as his deeply individual assimilation of musical folklore into his work. The Prince of Zeta is not to be understood as a folk opera, but some main themes are directly derived from folk music, precisely from the Montenegrin folk songs quoted in the Mokranjac's Ninth Garland and treated in Konjovic's post-romantic, almost expressionistic way, interwoven with some Italianate leitmotifs, so as to present the opera's two worlds, Montenegrin and Venetian. In the process of forming Konjovic's operatic style, with vocal parts based mainly on the principle of declamation, the opera Prince of Zeta (first performed in Belgrade, 1929, conducted by Lovro von Matacic) proved to be a work of great impact. Hardly anyone grasped then the wide sweep of inspiration which allowed the composer to set and to solve several important problems connected with music drama, essential also in his subsequent stage works. First of all, Konjovic had to handle in his own way the verbal drama the prototype of his opera, Maxim Crnojevic by the Serbian poet Laza Kostic (1841-1910). Permission came from the playwright in the first decade of the 1900, Prince of Zeta being partly set musically, but from then on with new interventions in the poet's text. Being a highly skilled writer, poet musicologist and essayist (he wrote four books and a great number of articles on music and the theatre, and translated opera librettos of Wagner and Moussorgsky), Konjovic felt free to introduce some daring alterations to the literary works he used for his music dramas. So it was with the play Maxim Crnojevic, premiered in Novi Sad in 1870 (printed in the same place in 1846 and 1866). On the other hand, the young poet Kostic (he was in his early twenties when he wrote Maxim Crnojevic) had the prototype for his play in the folkpoem The Marriage of Maxim Crnojevic, turning a naturalistic folk-story into a Hellenic-Shakespearian drama of friendship and love, full of chivalrous deeds and emotions. The once handsome Maxim, his face ruined by heavy disease, can no longer make his marriage with the doge's daughter Angelica (with whom he was already acquainted). The nobles of Montenegro particularly Ivo Crnojevic, who in the meanwhile, proud of his son, boasted in Venice, conspire a doublecrossing plot (with another man, Milos resembling Maxim as bridegroom) which works in the folk-poem, in some ways in drama, but not in the opera, with the story changed by Konjovic. The difference between drama and folk poetry is essential: in Montenegro Maxim murders Milos for the doge's daughter's dowry, on their way back. In the play, too, the tragic event takes place in Montenegro: on the way home Maxim kills Milos, thinking Milos is going to keep the beautiful Angelica for himself (the agreement was that he will hand over the bride to Maxim immediately after the wedding in Venice), then commits suicide realizing his fatal mistake. The girl, deeply disappointed leaves Montenegro. In the opera Maxim reveals the truth to Angelica in Venice, before she is to be wedded with Milos, and stabs himself. She chooses death also, drinking poison - a dramatically and musically very capturing finale in the style of Romeo and Juliet! In some recently performed versions of the opera (1989) the director (Dejan Miladinovic) and conductor (Oskar Danon) returned to the playwright's original denouement, avoiding the Shakespearian end of Konjovic (although in the spirit of Kostic who was also appreciated as a skillful translator of Shakespeare into Serbian language). In the opera Prince of Zeta Konjovic focuses on Ivo Crnojevic, making his role dominant to that of Maxim. The unhappy father, the tragic Hellenic figure, is with his son Maxim the main historical personality in both opera and drama. Zeta forms part of present-day Montenegro but was independent for a short period, then came under Byzantium, and eventually Rashka-Serbia. After the fall of last remnants of the Serbian vassal state in 1439, Zeta was partly independent protected by Venetians under the ruler Ivo Crnojevic, before the Turks grasped Montenegro. Serbian drama, which is usually trochaic, took an iambic course in Kostic's play. The composer preserved the poet's iambs, following the musically accented flexions of spoken language, which remains the main feature of his style. The impressive vocal parts, especially those of Ivo Crnojevic, starting from the Prologue and the first act, are supported by the dynamic and highly symphonized orchestra. For effective choral music the monks' ensemble in the second act (in the final version) and the dramatic Venetian carnival scene with the stylized Montenegrin folk-dances should be noted in both versions. With Prince of Zeta the author definitely made a distinguished name as a composer in Serbian culture, with a strong influence on younger generations of Serbian musicians.
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Classen, Albrecht. "The Erlau Playbook: Five Medieval German Dramas for Christmas and Easter. Trans. with an Intro. and Commentary by Stephen K. Wright. Early European Drama Translation Series, 4. Medieval and Renaissance Texts and Studies, 511. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2017, xxxviii, 184 pp." Mediaevistik 31, no. 1 (2018): 440. http://dx.doi.org/10.3726/med012018_440.
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With great enthusiasm and excitement I turned to this English translation of the Erlauer Spiele, magisterially done by Stephen K. Wright, Professor Emeritus of English at the Catholic University of America, and I was not disappointed. With great philological skills and great aplomb he tackles his task and makes available five major Christmas and Easter plays from fifteenth-century Carinthia, today in Austria, from the first half of the fifteenth century, in English. He introduces us in a very learned, yet also very lucid and clearly structured manner to the genre itself and the specifics of those five plays. Then follow the five plays themselves in translation, which are thoroughly annotated. Subsequently, Wright offers very brief excerpts from Erlau I (ll. 27–44), Erlau II (ll. 319–56), Erlau III (ll. 560–622), Erlau IV (ll. 330–70), and Erlau V (ll. 277–311). Those allow us to carry out at least a brief comparison between the original late medieval German text and the English translation. I can confirm that Wright has done an excellent translation job, although one could quibble over small matters here and there (V, 287: “so wirt guldein unser har” is: “so our hair will turn golden,” and not: “then our hair must be golden too!”). Those appendices, however, do not help us much at all to get a sense of the original works.
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Cheipesh, A. "The Image of a Woman in Everyday Works of E. Kontratovych." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 243–49. http://dx.doi.org/10.33838/naoma.27.2018.243-249.
Full textAbstract:
In the works of E. Kontratovych in the early period and the period of heyday, there are the everyday works, the main character of which is a woman. In the early period (1930–1943), the image of woman plays in the main theme of begging – disadvantaged women, suffered beggars. This is connected with the showing the fate of the Verkhovyna population, which suffered because of the World Economic Crisis of the 1930s. At that time, the artist was also interested in the folklore and mysterious world of the legends and myths of the Carpathians, embodied in the original female types. The works of the early period are executed mainly in the expressionist style, which are characterized by roughness and deformation of the form, dramatic, contrasting colors. A special role was assigned to the landscape, which the artist used as a means of enhancing of the emotional color. In some of the works, the main characters are depicted against the background of ruined houses, bare trees, which increases the sense of tragedy, drama. In others, the landscape is neutral or conditional, which suggests the indifference to the fate of the depicted women. With the beginning of the period of heyday (1944–1990), the range of topics devoted to the life of the Transcarpathian peasantry is expanding considerably. In works, the woman acts in the characted of a mother ("Transcarpathian Madonna"), a reaper, a laundress, a harvester. Launched in the 1930s, a series devoted to the fate of women, became more significant in the 1960s–1970s. The works of the period of heyday are mainly executed in the style of "Carpathian" expressionism. Forms of objects are molded with a soft brush stroke, the rhythm of the composition is built on the motion of brushwork, rounded lines. The artist prefers rich, vivid color that enhances the life-affirming emotions. The landscape also takes on an uplifting mood. Regardless of color, stylistic preferences and compositional changes, E. Kontratovych's works, devoted to the image of women are designed to glorify a woman as a mother and a worker, to create her idealized image for inspiration and admiration.
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Ptashenko, Serhii. "Song and dance genre specifics in works for button accordion by the composers of the Department of Folk Instruments of Ukraine of Kharkiv I. P. Kotlyarevsky National University of Art." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 67–82. http://dx.doi.org/10.34064/khnum1-59.05.
Full textAbstract:
Recent years have provoked an increasing interest in button accordion arts of Ukraine therefore a great demand for button accordion performance based on song and dance genre features is to be of great importance. Our research work deals with the embodiment of the song and dance genres features in academic button accordion art. The above-mentioned phenomenon has led to the appropriate systematization of their transformations in the musicological viewpoint therefore is stated to be very novel. This systematization is revealed from stylization to various arrangements, further transcriptions, fantasies, paraphrases, works on the theme of other artists that is to create the genre-style transformation. The aim of the research is to determine the genre-style methods of composers’ work for button accordion on the basis of song and dance genre. Present scientific research scope led to the solution of the following tasks: the disclosure of methods of author’s song and dance originals processing, identifying the specifics of drama and means of musical expression, justifying the popularity of works in the domestic musical performance. The following methods are used: analytical, comparative-historical and structural-functional. Summing up the results, it can be concluded that stylizations of dance and song genre are stated to be a great component of button accordion art. The use of European modeling samples (gavotte, mazurka and musette) contributed to the button accordion performance leading to sound production sophistication, high refinement of the sound palette and dynamic nuance, which enriched the artistic means of expressiveness, contributed to the evolution of interpretive experience. In the arrangements and transcriptions (by other authors) of Latin American dance genres there was an enrichment of rhythmic intonation structures and timbre palette of the instrument that lead to great popularity among performers and listeners by the interaction of academic art and genres belonging to the ‘third layer’. Among the opuses created in the genre-style transformation of songs and dances, the re-intonation of the original musical compositions received high artistic results. The use of modern means of button accordion expression, construction of new musical forms, application of elements of musical polystylistics, modification of genres are aimed at multifaceted reproduction of the figurative content of the original source, giving it a new artistic value and concert life. In the musical works of button accordion composers, the direction of song and dance genres features continuously enriches the quantitative and qualitative musical literature, so the prospects for further scientific research are relevant and promising.
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Kireyeva, Natalia Yurievna, and Angelina Leonidovna Kuts. "J. Offenbach’s opera “The Tales of Hoffmann”: on the question of interpretation. Part 1." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 81–101. http://dx.doi.org/10.7256/2453-613x.2021.1.34909.
Full textAbstract:
The opera by Jacques Offenbach “The Tales of Hoffmann” is a unique phenomenon in the history of the opera genre attracting the attention of interpreters and researchers. Dealing with the text, musicians face particular problems caused by an unusual story behind the opera and its other peculiarities. The purpose of this article is to study the specificity of the opera at the literary, music, and stage levels using  the hermeneutical approach. The three independent original works of Hoffmann were combined in a grand drama composed by J. Barbier and M. Carré, and then in a libretto (J. Barbier) by means of deconstruction of romantic stereotypes of the main character, which reveals the peculiarities of the opera under consideration and explains the topicality of this research. The music analysis is aimed at the detection of expressive means through which the composer had managed to explain the idea of the authors of the literary text and get it across to the audience. The key formative way of building a music drama is a “romantic irony” (M. Ya. Kuklinskaya). That’s where the genre dualism of the opera under consideration comes from, which manifested itself in the form of the synthesis of the genres opera comique and opera lyrique. The authors also detect the interaction of elements of both genres helping to create an unusual atmosphere of the opera, and the play with the audience, allowing manipulating the spectators’ expectations, which is more typical of operetta than of opera genre.   
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Andito, Tegar. "PERANCANGAN KOMIK ANDHE ANDHE LUMUT BERDASARKAN RELIEF KISAH PANJI DI KOMPLEKS CANDI PENATARAN." DeKaVe 10, no. 2 (2018): 49. http://dx.doi.org/10.24821/dkv.v10i2.1993.
Full textAbstract:
Andhe Andhe Lumut is a folktale that derived from many versions of Panji tales. Andhe Andhe Lumut is the popular one amongst Indonesian, especially Javanese cultures. In popular culture, there are many works in various media that derived from Andhe Andhe Lumut story. Originally, as one of Panji tales, Andhe Andhe Lumut background story takes place at Kediri Kingdom era, but most of visual works like comics, picture story books, animations, drama costumes, etc use far more modern era style of traditional Javanese culture. Beside of that, from original text, Andhe Andhe Lumut folktale is designed for adult audiences, however most Indonesians have identified that folktale is a bedtime story for children. That’s why people can’t find visual works from Andhe Andhe Lumut story for adult audiences. As mentioned before, Panji tales have many versions. They are also already popular since Majapahit era. This is proven by carvings about some scene from Panji tales at Penataran Temple Complex which most of stuctures are built at Majapahit era. Panji tales themselves are semi fictional stories. Prince Panji or Inu Kertapati is inspired from King Kameswara II, seventh king of Kingdom of Kediri, and Princess Candra Kirana is inspired from Queen Kirana from Jenggala, but in Panji tales, their origins are opposite. Panji is from Jenggala and Candra Kirana is from Kediri. Ancient Javanese temple carvings could shows anything, but always showed environmental situations when the carvers live.”Teras Pendopo” building, where Panji tales carvings are located, was built at Majapahit era, when King Hayam Wuruk reigned. It is about 100 years after fall of Kediri, so the carvings are the closest visualization of Kingdom of Kediri daily life.Visualization of Andhe Andhe Lumut folktale based on original text and Panji tales characters at Penataran Temple Complex has never done before. Panji tales at Penataran Temple itself does not tell Andhe Andhe Lumut version of Panji. This comic design, if done properly can gives a new point of view about Andhe Andhe Lumut and can be the first comic of Andhe Andhe Lumut for adult audience with some historical accuracy.
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Czemerys, Agata. "History Enchanted in Music – Historical Verism in Ruggero Leoncavallo’s I Medici Agata Czemerys." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 139–55. http://dx.doi.org/10.4467/23537094kmmuj.20.045.13918.
Full textAbstract:
My study of the historical opera I Medici focuses on an analysis of the work’s dramaturgy. In my opinion, the libretto is the key to understanding operatic dramas; it constitutes their primary foundation, on which the subsequent semantic layers of this naturally syncretic musical genre are constructed. In my paper I have therefore analysed the individual components of the libretto, with special emphasis on the persons of the drama, their personality traits, as well as their musical representations in Leoncavallo’s work. Analysis of the dramaturgical aspects of the opera is an essential first step to a consideration of the musical layer, which lies at the heart of my research. In my paper, I have followed the path mapped out by musicologist Luca Zoppelli; however, his work is only the starting point for a more detailed study of the opera’s expressive qualities and the procedures applied for the musical representation of veristic ideas. Verity – not only in the historical sense – becomes a leading category which unifies the opera at every level, from its original source recorded in the chronicles to the composer’s presentation of the story.
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Khokhlova, Daria. "To the question of choreographic interpretation of male images of W. Shakespeare’s drama of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon." Культура и искусство, no. 10 (October 2020): 1–16. http://dx.doi.org/10.7256/2454-0625.2020.10.33879.
Full textAbstract:
The subject of this article is the interpretation of male images from W. Shakespeare’s “The Winter’s Tale” by the choreographer C. Wheeldon in the context of its conceptual commonality with the literary original. The goal of this research is to determine the stage means and elements of choreographic language used by the choreographer for creation of male roles, as well as to draw ideological-imagery parallels with the original text. Methodological foundation of this study features the principles of critical analysis of text of the play along with the semantic analysis of choreography, developed in the scientific works of such theoreticians of ballet art as Lopukhov, Dobrovolskaya, Krasovskaya, Surits, Slonimsky. Comprehensive approach towards interpretation of the literary original on the modern ballet stage required  the analysis of such sources, as the English-language peer reviews of the world premiere of the ballet and video materials from the archives of the Royal Opera House in London and the Bolshoi Theater in Moscow. The author also applied the method of overt observation based on the personal experience of working with Wheeldon in Bolshoi Theatre, and accompanied by the analysis of rehearsals from the author's archive (over the period from March to April 2019). The author carried out a detailed semantic analysis of the stage interpretation and choreographic language of the male images of W. Shakespeare's play of the later period “The Winter's Tale” in the eponymous ballet of C. Wheeldon (which served as the key instrument for this research). The conclusion is made that the conceptual ground of Wheeldon’s interpretation of the male images is based on the Shakespeare’s text adapted to the realities of a stage performance.  He employs a wide array of plasticity and other innovative means of expression, applying an individual approach towards staging each male role.
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Irwansyah, Dedi, Burhan Nurgiyantoro, and Asruddin B. Tou. "Teaching with Literature: the Needs of Indonesian Islamic Universities." International Journal of Applied Linguistics and English Literature 6, no. 7 (2017): 169. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.169.
Full textAbstract:
Reading literary works helps learners grow linguistically, personally, culturally, and spiritually. However, researchers in the field of ESL and EFL have not conducted adequate analysis on the use of literature as a resource particularly in a multi-layered educational contexts like Indonesian Islamic universities where values embedded in literature might be in conflict with each other. This research therefore aims to provide a thick description on the target needs and the learning needs of teaching with literature in such context. A case study with qualitative and quantitative methods of data collection was conducted. A questioner was distributed to 30 students and a semi-structured interview was conducted to five lecturers from three Islamic universities. Major findings show that short stories with the topics of noble character, self-empowerment, freedom, code of conduct, and greed are preferable to novel, drama, and poem. The stories in the forms of their simplified and original versions should be used to teach language skills and to inculcate global, national, and Islamic values within the CTL framework. Values similarities are to be the basis of teaching universal values while their differences are to strengthen cross-culture understanding.
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Champonnois, Cécile. "Le mélange du sacré et du profane dans les livrets de tragédies lyriques du librettiste Nicolas-François Guillard (1752-1814)." Quêtes littéraires, no. 3 (December 30, 2013): 48–57. http://dx.doi.org/10.31743/ql.4604.
Full textAbstract:
Nicolas François Guillard (1752-1814) was one of the best librettists of the Tournant des Lumières. The libretto of Proserpine by Quinault, set to music by Lully at the end of the seventeenth century, was adapted by Guillard and once again set to music by Giovanni Paisiello in 1803. Six years later, in 1809, La Mort d’Adam, adapt-ed by Guillard from Friedrich Gottlieb Klopstock’ Der Tod Adams (1757), was set to music by Jean-François Lesueur.
 These rewritings, with religious or sacred topics staged for a secular theatre by Guillard, are very different from the original works and tend to be family dramas: he then transforms them into secular works with secular content. Human sacrifices are present in these works but seem to feature here for family reasons and not only for religious purposes. Divinities are presented by the librettist as human beings, whose family roles are predominant. The sacred and the profane are mixed in these two librettos, changed into hybrid works. Guillard seems to use the same model to adapt historical, mythological or religious works, which means that the role and the impor-tance of the religious in the works staged at the Académie Impériale de Musique in the period of the Tournant des Lumières has to be examined.
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Freshwater, Helen. "The Ethics of Indeterminacy: Theatre de Complicite's ‘Mnemonic’." New Theatre Quarterly 17, no. 3 (2001): 212–18. http://dx.doi.org/10.1017/s0266464x00014731.
Full textAbstract:
Theatre de Complicite was founded in 1983 by Simon McBurney, Annabel Arden, and Marcello Magni, and has since established its reputation as one of Britain's leading experimental physical theatre companies. Here, Helen Freshwater discusses the construction, performance, and implications of one of their recent works, Mnemonic, which premiered at the Salzburg Festival in 1999, and has since toured to London's National Theatre and the John Jay College Theatre in New York. The work questions our metaphorical conceptualization of memory, displacing the conventional model of retrieval with an understanding of memory based upon a performative paradigm. This is memory as an act of imagination: transient; grounded upon narrative; open to interpretation; intrinsically corporeal. Freshwater interrogates the impact of the performance's incompletion, addressing the ethical issues raised by recognzing the indeterminacy of the past. Under Simon McBurney's direction, the original cast comprised Catherine Schaub Abkarian, Katrin Cartlidge, Richard Katz, Simon McBurney, Tim McMullan, Kostas Philippoglou, and Daniel Wahl. Helen Freshwater is currently completing her PhD on performance and censorship in twentieth-century Britain at the University of Edinburgh and will shortly be taking up a post as Lecturer in Drama and Performance at the University of Nottingham. She is a contributor to the Edinburgh Review, and the forthcoming anthology Crossing Boundaries (Sheffield Academic Press, 2001).
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Brandt, George W. "Banditry Unleash'd; or, How The Robbers Reached the Stage." New Theatre Quarterly 22, no. 1 (2006): 19–29. http://dx.doi.org/10.1017/s0266464x06000273.
Full textAbstract:
Friedrich Schiller – poet, historian, and philosopher as well as dramatist – is acknowledged to be a towering figure in German-language theatre, yet has had only a fitful impact on the stages of the English-speaking world, where such of his works as Don Carlos, Intrigue and Love (Luisa Miller in the operatic version) and William Tell are better known through the filters of Verdi and Rossini than in their original form. But there were signs in 2005 – the bicentenary of Schiller's death at the tragically early age of forty-five – that the English theatre was taking more notice of this major playwright, with Phyllida Lloyd's production of Mary Stuart and Michael Grandage's of Don Carlos both well received. In the article which follows, George W. Brandt traces Schiller's troubled breakthrough into professional theatre as a young man with his first play, The Robbers – which, while significantly different from his later work, does anticipate his lifelong preoccupation with the theme of freedom. George W. Brandt, Senior Research Fellow and Professor Emeritus in the Drama Department of the University of Bristol, has previously contributed to NTQ with articles on Bristol's Shakespeare at the Tobacco Factory Company (NTQ 72), and Iffland's 1796 guest performance in the Weimar of Goethe and Schiller (NTQ 77).
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Kerdarunsuksri, Kittisak. "Malai Mongkhon: A Case of Postmodern Thai Theatre." MANUSYA 5, no. 1 (2002): 50–66. http://dx.doi.org/10.1163/26659077-00501004.
Full textAbstract:
Modern stage drama was introduced into Thai theatre during the mid-1960s within the university circle and later spread to the commercial level. To make their productions more attractive and accessible to popular audiences, some theatre practitioners sought to experiment with adopting indigenous sources, either traditional stories or theatrical elements, which have been found in modern Thai theatre from time to time since the early 1970s. During the 1990s, several productions made use of traditional stories and elements to a greater degree due to many factors, such as the promotion of Thainess, the demand for original Thai plays, and the trend in Southeast Asian theatre. Most of these productions can thus be considered as postmodern Thai theatre since revisiting the past, disrupting the distinction of high and low art forms, and juxtaposing unmatched elements are clearly discernible. Makhampo’m’s Malai Mongkhon, adapted from the myth of Phra Malai, was one of the works based on traditional Thai literature produced in this period. Not only was the myth used, but this production also made use of traditional theatrical elements, both court and folk, in juxtaposition with modern techniques. This production can be regarded as a representative of postmodern Thai theatre in the 1990s.
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Pasenchuk, N. "Social and Cultural Context of the Dramatic Text: Problems of Reproduction (based on the Ukrainian and Russian translations of Williams Tennesse’s play «The Glass Menagerie»)." Studia Linguistica, no. 12 (2018): 85–97. http://dx.doi.org/10.17721/studling2018.12.85-97.
Full textAbstract:
The article is devoted to the problem of translation of the drama. The article focuses on revealing peculiar linguistic and stylistic features of the drama. The research has been done on the case study of Russian and Ukrainian translation variants of the drama text by T.Williams «The Glass Menagerie». Basic methods of translation are investigated in the article. On the basis of comparative analysis the author investigates the problem of lexico-semantic transformations in translation of the drama. There has been proved that lexico-semantic transformations play an important role in the process of translation, providing the text with dynamics, enhancing expressivity, serving to enhance the image-expressive functions of a language. The units of different language levels, which help to verbalize cultural information of the source text, words with national and cultural semantic component have been considered. It was outlined that structural and functional peculiarities of each target language in regard to source English language and personality of translator have an impact on the reflection of the national and cultural colour of the source text. The task of the translator is to provide the reader with necessary explanations, since the transfer of the cultural and social specifics of the dramatic text requires a special approach from the translator in achieving the pragmatic adequacy of the translation. It is determined that the literal translation does not correspond to the adequacy of reproduction of the source text. The nationally marked means contribute to the emotional and expressive colour of the source text and emphasize the national colour. The adequate reproduction of stylistic means leads to the preservation of the original intention of the author. The dramatic text is a peculiar model of the socio-historical context of society. The main task of the translator is the reproduction of the national components of the model of another culture and preservation of national-historical context of the source text.