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Journal articles on the topic 'Yoruba drama – History and criticism'
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1
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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McEvilla, Joshua, Elizabeth Sharrett, Jennifer Cryar, Cristiano Ragni, and Alice Equestri. "VIII Renaissance Drama: Excluding Shakespeare." Year's Work in English Studies 98, no. 1 (2019): 445–94. http://dx.doi.org/10.1093/ywes/maz003.
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Abstract This chapter has three sections: 1. Editions and Textual Matters; 2. Theatre History; 3. Criticism. Section 1 is by Joshua McEvilla; section 2 is by Elizabeth Sharrett; section 3(a) is by Jennifer Cryar; section 3(b) is by Cristiano Ragni; section 3(c) is by Alice Equestri.
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Cohen, Stephen, and Lawrence J. Ross. "On Measure for Measure: An Essay in Criticism of Shakespeare's Drama." Sixteenth Century Journal 29, no. 2 (1998): 510. http://dx.doi.org/10.2307/2544531.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.
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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Lampert, Nick. "Social criticism in Soviet drama: The plays of Aleksandr Gel'man." Soviet Studies 39, no. 1 (January 1987): 101–15. http://dx.doi.org/10.1080/09668138708411676.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.
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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
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Herold, Niels. "Madness and Drama in the Age of Shakespeare. A Review Article." Comparative Studies in Society and History 37, no. 1 (January 1995): 94–99. http://dx.doi.org/10.1017/s001041750001954x.
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Duncan Salkeld's study of madness in the age of Shakespeare is conceived of as being against the grain of both traditional literary criticism and historiography. Noting that the critical contemplation of the inner life of Shakespearean character has been central (as far back as Coleridge) to previous approaches to the study of madness in Shakespeare, Salkeld argues instead that the “inner worlds of the mind of Shakespearean characterization are largely represented by external appearance, in language describing corporeal states.” Thus, the towering constructs of personality in Lear and Hamlet, for example, are turned inside out when critical attention is focused on the “materiality” of madness and its forms. This privileging of “external appearance” and “corporeality” over the imagined inner life of character is licensed by Salkeld's thesis that personal crises in the dramatic lives of Shakespeare's tragic heroes and heroines must invariably be read qua political crisis. The author writes that any “discussion of the internal life of a character then becomes a second order issue, and considerably more problematic when the historical specificity of these conditions is addressed” (p. 2).
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Sales, Roger. "Review: Shakespeare Recycled: The Making of Historical Drama, the Matter of Difference: Materialist Feminist Criticism of Shakespeare." Literature & History 3, no. 1 (March 1994): 106–9. http://dx.doi.org/10.1177/030619739400300115.
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Hollinger, David A. "The Accommodation of Protestant Christianity with the Enlightenment: An Old Drama Still Being Enacted." Daedalus 141, no. 1 (January 2012): 76–88. http://dx.doi.org/10.1162/daed_a_00130.
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Throughout its history, the United States has been a major site for the accommodation of Protestant Christianity with the Enlightenment. This accommodation has been driven by two closely related but distinct processes: the demystification of religion's cognitive claims by scientific advances, exemplified by the Higher Criticism in Biblical scholarship and the Darwinian revolution in natural history; and the demographic diversification of society, placing Protestants in the increasingly intimate company of Americans who did not share a Protestant past and thus inspiring doubts about the validity of inherited ideas and practices for the entire human species. The accommodation of Protestant Christianity with the Enlightenment will continue to hold a place among American narratives as long as “diversity” and “science” remain respected values, and as long as the population includes a substantial number of Protestants. If you think that time has passed, look around you.
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Emerson, Caryl. "Pretenders to History: Four Plays for Undoing Pushkin's Boris Godunov." Slavic Review 44, no. 2 (1985): 257–79. http://dx.doi.org/10.2307/2497750.
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Among the problematic works of great writers, Pushkin's Boris Godunov occupies a special place. This strange hybrid of history, drama, narrative poetry, and prose Pushkin called a “romantic tragedy,” and he considered it his masterpiece. Yet the play's publication in 1831 was met with surprise and dismay. By consensus of a baffled public, Boris Godunov was a failure—neither romantic, nor feasible on the tragic stage.Since that time, generations of critics, playwrights, and producers have tried to come to terms with this troublesome text. Tolstoi's famous comment—that all great nineteenth-century Russian works defy clear generic classification1—has been invoked in defense of many irregular texts, but not this one. Boris remains stubbornly, inexplicably “undramatic.” Criticism has in fact tended to redefine the play rather than to investigate it. Boundaries are routinely blurred between the historical Tsar Boris, the historical period when his tale is retold, and the world of the fictional creation itself.
12
Herbert, Ian. "Writing in the Dark: Fifty Years of British Theatre Criticism." New Theatre Quarterly 15, no. 3 (August 1999): 236–46. http://dx.doi.org/10.1017/s0266464x00013038.
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In NTQ50 (May 1997) Irving Wardle offered his reflections on forty years of theatre reviewing, from the point of view of the seasoned practitioner. Here, Ian Herbert looks at the craft of the reviewer in the wider context of the British theatre since the war, and sees an ironic similarity between the venerable, gentlemanly generation against which Kenneth Tynan pitted his considerable wit, and the generation of Tynan's disciples now no less firmly entrenched in their seats on the aisle. His article, first presented as one of the public lectures celebrating the Golden Jubilee of the Society for Theatre Research on 15 January 1998, is as much an informal history of London theatre during the period as a discussion of the part played in it by the members of the Critics' Circle drama section, of which he is currently secretary. Having completed the last of three editions of Who's Who in the Theatre to appear under his editorship, in 1981 Ian Herbert, started London Theatre Record, now Theatre Record, the fortnightly journal which gathers together the unabridged reviews of all the major British theatre critics.
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Balme, Christopher. "J.B. ALSTON: Yoruba Drama in English: Interpretation and Production. [Studies in African Literature; 1]. (Lewiston KY: Edwin Mellen, 1989). 192 pages. US$ 59.95." Matatu 12, no. 1 (April 26, 1994): 231–32. http://dx.doi.org/10.1163/18757421-90000108.
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Limon, Jerzy. "Waltzing in Arcadia: a Theatrical Dance in Five Dimensions." New Theatre Quarterly 24, no. 3 (August 2008): 222–28. http://dx.doi.org/10.1017/s0266464x08000286.
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Time structures are essential to any analysis of drama or theatre performance, and in this article Jerzy Limon takes the final scene from Tom Stoppard's Arcadia as an example to show that non-semantic systems such as music gain significance in the process of stage semiosis and may denote both space and time. The scene discussed is particularly complex owing to the fact that Stoppard introduces two different time-streams simultaneously in one space. The two couples presented dance to two distinct melodies which are played at two different times, and the author explains how the playwright avoided the confusion and chaos which would have inevitably resulted if the two melodies were played on the stage simultaneously. Jerzy Limon is Professor of English at the English Institute at the University of Gdańsk. His main area of research includes the history of English drama and theatre in the sixteenth and seventeenth centuries, and various theoretical aspects of theatre. His most recent works, published in 2008, include a book on the theory of television theatre, Obroty przestrzeni (Moving Spaces), two chapters in books, and articles in such journals as Theatre Research International, Shakespeare Jahrbuch, Journal of Drama Theory and Criticism, and Cahiers élisabéthains.
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TOUYZ, PAUL. "THE ANCIENT RECEPTION OF AESCHYLEAN SATYR PLAY." Bulletin of the Institute of Classical Studies 62, no. 2 (December 1, 2019): 97–117. http://dx.doi.org/10.1111/2041-5370.12109.
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Abstract In this article, I first discuss the reception of Aeschylus’ satyr plays in classical drama, the evidence for their reperformance, and their place in ancient criticism and scholarship. In the final section, I analyze the factors that contributed to the positive reputation of Aeschylean satyr play. Although the evidence is often very limited, I attempt to establish a framework for understanding this ancient reception. Here I propose that the importance placed on satyr play in Aeschylus’ reception in antiquity can be viewed as an extension of his image as the father of tragedy, through both the association of satyr play with the origins of tragedy and its place in the tetralogy.
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Zibrak, Arielle. "The Progressive Era’s New Optimists." American Literary History 32, no. 2 (2020): 376–84. http://dx.doi.org/10.1093/alh/ajaa001.
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Abstract New scholarship in the literature and print culture of the Progressive Era emphasizes the socially and politically transformative power of aesthetic experience. Through their attention to the physical as well as ideological spaces in which the dual projects of political reform and cultural formation via textual production and consumption were carried out, these scholars offer an account of Progressive-Era aesthetic products ranging from fiction to journalism to comics to productions of Elizabethan drama as democratic sites of social good. While previous criticism of the era’s literature aligned its ideological orientation with the regressive politics of nativism and rising class divisions, these scholars, through both recovery and rereading, take a more optimistic approach that emphasizes the reciprocal nature of the textual engagement undertaken by immigrants and the working class.
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Romanska, Magda. "BETWEEN HISTORY AND MEMORY: AUSCHWITZ IN AKROPOLIS, AKROPOLIS IN AUSCHWITZ." Theatre Survey 50, no. 2 (November 2009): 223–50. http://dx.doi.org/10.1017/s0040557409990056.
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In 1962, Polish director Jerzy Grotowski mounted an adaptation of playwright Stanisław Wyspiański's 1904 play Akropolis. When James MacTaggart filmed it in 1968, the production gained immediate cult status among American theatre critics, scholars, and practitioners. Although Grotowski's production had already been seen internationally (though by a very limited audience), the film made it available to those outside major theatre centers. Notwithstanding the buzz that surrounded the film's release, most of the interest was focused on the acting and the set design; the fact that the show was based on an obscure modernist drama evoked little critical comment. Although the film's voice-over translated some lines of the play, the dialogue was not the main focus of commentary about the film or criticism of the play after the film was released. In 1974, Harold Clurman wrote that “the lines [of Grotowski's adaptation] spoken at incredible speed are not dialogue; they are tortured exclamations projected in the direction of another being, but with no shape as personal address. (It has been said that a knowledge of Polish does not make the lines readily intelligible… ” Clurman sidestepped discussing the text altogether, arguing that one does not need to understand it in order to understand the production.
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PIERCE, HELEN. "ANTI-EPISCOPACY AND GRAPHIC SATIRE IN ENGLAND, 1640–1645." Historical Journal 47, no. 4 (November 29, 2004): 809–48. http://dx.doi.org/10.1017/s0018246x04004017.
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This article examines the role of graphic satire as a tool of agitation and criticism during the early 1640s, taking as its case study the treatment of the archbishop of Canterbury and his episcopal associates at the hands of engravers, etchers, and pamphlet illustrators. Previous research into the political ephemera of early modern England has been inclined to sideline its pictorial aspects in favour of predominantly textual material, employing engravings and woodcuts in a merely illustrative capacity. Similarly, studies into the contemporary relationship between art, politics, and power have marginalized certain forms of visual media, in particular the engravings and woodcuts which commonly constitute graphic satire, focusing instead on elite displays of authority and promoting the concept of a distinct dichotomy between ‘high’ and ‘low’ culture and their consumers. It is argued here that the pictorial, and in particular graphic, arts formed an integral part of a wider culture of propaganda and critique during this period, incorporating drama, satire, reportage, and verse, manipulating and appropriating ideas and imagery familiar to a diverse audience. It is further proposed that such a culture was both in its own time and at present only fully understood and appreciated when consumed and considered in these interdisciplinary terms.
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Griffin, Jasper. "The social function of Attic tragedy." Classical Quarterly 48, no. 1 (May 1998): 39–61. http://dx.doi.org/10.1093/cq/48.1.39.
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The time is long gone when literary men were happy to treat literature, and tragic poetry in particular, as something which exists serenely outside time, high up in the empyrean of unchanging validity and absolute values. Nowadays it is conventional, and seems natural, to insist that literature is produced within a particular society and a particular social setting: even its most gorgeous blooms have their roots in the soil of history. Its understanding requires us to understand the society which appreciated it, and for which it came into existence. In the particular case of the tragic poetry of Athens, the most influential body of recent criticism focuses on the relation of the drama to the realities of political and social life.
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van Emde Boas, Evert. "The Tutor’s Beard." Mnemosyne 68, no. 4 (July 2, 2015): 543–68. http://dx.doi.org/10.1163/1568525x-12301528.
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In this paper I discuss several cases of controversial speaker-line attribution in Greek tragedy, with the overall goal of showing that greater attention needs to be paid to gender-specific language in the business of textual criticism. Differences between male and female speech in Greek drama may offer crucial indications for the attribution of contested lines. I argue that the distribution of E. El. 959-966 in the manuscripts should be maintained, primarily for two gender-related reasons: women in tragedy do not give commands to servants if free men are present, and the discussion of clothing at 966 is typical of Electra’s female concerns. For the first half of the ‘recognition duet’ between Helen and Menelaus at E. Hel. 625-659, I argue, on the basis of recent work on male and female lyric, that 638-640 should be assigned to Helen, and that there is no need to avoid giving 636 or 654-655 to Menelaus because they are ‘too emotional’ for a man. In discussing these passages I seek to contribute to the growing understanding of the distinct characteristics of tragic male and female language, and to argue for the role that the study of those characteristics can play in textual criticism.
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Rutherford, Malcolm. "“Who's Afraid of Arthur Burns?” The NBER and the Foundations." Journal of the History of Economic Thought 27, no. 2 (June 2005): 109–39. http://dx.doi.org/10.1080/09557570500114236.
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The National Bureau of Economic Research (NBER) was founded in 1920 and quickly came to be regarded as one of the leading economic research organizations in the world. The NBER still exists today and still enjoys a high reputation, but the NBER of today bears little resemblance to the organization it once was. Between 1920 and the present the NBER has undergone a number of significant changes in form, function, and direction, and this history is one that includes moments of considerable drama. There were times of great financial stress, to the point where the future existence of the organization was in doubt, times when the organization seemed to be able to maintain a highly favored financial status despite outside criticism, and times of sharp conflict between the Bureau and its financial patrons.
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Saro, Anneli. "Leedu draama retseptsioon Eestis." Eesti ja soome-ugri keeleteaduse ajakiri. Journal of Estonian and Finno-Ugric Linguistics 8, no. 1 (March 21, 2017): 221–40. http://dx.doi.org/10.12697/jeful.2017.8.1.12.
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Eesti teatril on ajaloolises plaanis kõige tihedamad sidemed olnud saksa- ja venekeelse ning angloameerika kultuuriruumiga, kuid sidemed lõunapoolsete lähinaabritega on olnud üsna sporaadilised. Käesolev uurimus käsitleb Leedu draama vastuvõttu Eestis ja Eesti teatris. Artikli eesmärgiks on (1) anda statistiline ajalooline ülevaade Eestis ilmunud ja lavastatud Leedu näitekirjandusest ning (2) uurida Leedu draama retseptsiooni Eestis, tuginedes näidendite lähilugemisele, audio- ja videosalvestustele ja ilmunud kriitikale ning tõlgendades nimetatud allikaid Eesti kultuurikontekstist lähtuvalt.Abstract. Anneli Saro: Reception of Lithuanian drama in Estonia. The article has two aims: (1) to give a statistical overview of Lithuanian drama published and staged in Estonia, and (2) to investigate the reception of Lithuanian drama in Estonia, relying on close reading of the plays and analysis of audiovisual recordings and criticism, and interpreting the sources in the Estonian cultural context. The term “reception” here covers the creative work of translators, directors, actors, scenographers, etc., as well as diverse mental activities of readers and spectators. The first part of the article tackles the historical development of cultural relations between Estonia and Lithuania in the field of theatre, listing the Lithuanian plays published and staged in Estonia during different epochs and contextualizing the reception. In the second part, the plays of four influential playwrights are analyzed: works by Juozas Grušas, Kazys Saja, Justinas Marcinkevičius and Marius Ivaškevičius. There are approximately forty Lithuanian plays translated into Estonian, most of them by Mihkel Loodus. Twenty plays have been staged in professional theatres, and twenty have been published, although some are still in manuscript. There are three groups of plays translated into Estonian: (1) plays depicting Soviet society, staged in Estonia in the second half of the 1950s and in the first half of the 1960s, 2) plays depicting Lithuanian history, mostly published as books, and 3) existential plays that form the majority of Lithuanian drama in Estonian.Keywords: Lithuanian drama; Estonian theatre; reception; cultural relations between Estonia and Lithuania
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Shapoval, Mariana. "The intellectual's artistic biography in S. Rosovetskyi's dramatic." Synopsis: Text Context Media 26, no. 1 (2020): 1–10. http://dx.doi.org/10.28925/2311-259x.2020.1.1.
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The global trend of digitalization and publishing of historical sources, in particular fiction and its existence in different eras, makes the reader constantly reconsider the lives and work of persons who are regarded as prototypes of characters in literary works. As a result, an artistic image, linked to real life and rooted in the past, generates a consistent literary story in the form of artistic biography. The number and variety of such literary works, including dramatic ones, is constantly growing, which determines the topicality of this study. Over the recent decades, biographical fiction drastically changed its forms, and was enriched with numerous genre varieties and modifications. And this process remains far from complete. The term ‘meta-genre of artistic biography’ is introduced to designate it. This term emphasizes the scale of a certain phenomenon and allows defining the subject of the study — the artistic biographical description of the intellectual in contemporary Ukrainian drama — as well as clarify the understanding of the concept of the ‘intellectual,’ and problematize ways of describing characters of this type. The purpose of the article is to identify the genre-style unity of Ukraine’s modern drama about intellectuals and prove the expediency of the application to it of interpretive approaches to popular knowledge from related areas (history, philosophy, art). Specifically, such varieties of genres as personal artistic biography and intellectual artistic biography were singled out and proposed for the first time on the literary material (S. Rosovetskyi), and that is the research novelty. The research methodology is defined by an interdisciplinary approach that appeals to the achievements of literary criticism, art criticism, history, and philosophy. Results of the Study are connected with considerations that the interest in the artistic biography of the intellectual is associated with a general trend to anthropologize scientific knowledge, coupled with the growing interest of the audience in the individual and personal in the history and in the present, with the dominance of the emotional component in contemporary media discourses, resulting in the actualization of an emotional narrative of the intellectual’s biography, which often sounds tragic nowadays in the context of the catastrophic past of the Ukrainian science and culture.
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Vidal Mayor, Vanessa. "Alegoría barroca e imagen dialéctica: el esfuerzo de Walter Benjamin y Theodor W. Adorno para pensar la dialéctica de la naturaleza y la forma estética." Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 199. http://dx.doi.org/10.7203/laocoonte.0.4.11065.
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El artículo expone en la primera parte la concepción de la forma estética alegoría en El origen del drama barroco alemán de Walter Benjamin y el modo en que Adorno se apropia de esta concepción para construir su idea de historia natural. La segundaparte del artículo se centra en exponer la relación de las alegorías con las imágenes dialécticas de la Exposé de 1935 para La obra de los pasajes y la crítica constructiva que hace Adorno a las mismas en la Carta-Hornberg. El artículo pretende mostrar el esfuerzo común de ambos pensadores para abordar el problema de la forma estética y su relación con la dialéctica y la naturaleza.This article offers in the first part an exposition of the aesthetic form allegory in Walter Benjamin’s ‘The origin of the German tragic drama’ and the way in which Adorno appropriates the allegory to build his idea of natural history. The secondpart of the article focuses on exposing the liaison between allegories and dialectical images of the 1935 Exposé to “The work of the passages” and Adorno´s constructive criticism to them in the Hornberg letter. The article aims to show the common effort of both thinkers to address the problem of the aesthetic form and its relation to dialectics and nature.
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Yanagawa Yosuke. "The History of Korean Theatre in the Early 1930s Examined through Yoo Chi-jin's Japanese-Language Criticism: Focusing on "The Korean New-Drama Movement"." Journal of Korean drama and theatre ll, no. 59 (March 2018): 255–87. http://dx.doi.org/10.17938/tjkdat.2018..59.255.
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Goldberg, Sander M. "Plautus on the Palatine." Journal of Roman Studies 88 (November 1998): 1–20. http://dx.doi.org/10.2307/300802.
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It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place where Athenian tragedies and comedies were performed, and the facility grew in size and grandeur along with the festivals it served. One result of this continuity has been a great boon to the performance-based criticism of Greek drama.
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Partola, Y. V. "Problems of Teaching Theater Criticism in the First Years of the Kharkiv Theater Institute." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 41–69. http://dx.doi.org/10.34064/khnum1-51.02.
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Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livshits) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.
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Tulloch, John, Tom Burvill, and Andrew Hood. "Reinhabiting ‘The Cherry Orchard’: Class and History in Performing Chekhov." New Theatre Quarterly 13, no. 52 (November 1997): 318–28. http://dx.doi.org/10.1017/s0266464x00011441.
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Chekhov's The Cherry Orchard is clearly ‘about’ the end of one social order – about time changing and time static. Yet different interpretive communities – academics in journal articles and students in their classrooms, newspaper reviewers, theatre writers like Trevor Griffiths and David Mamet, and theatre directors like Adrian Noble and Richard Eyre – ‘read’ Chekhov's representation of history and class change in different ways. The authors of this study have been exploring these different reading formations in a three-year project funded by the Australian Research Council, ‘Chekhov: in Criticism, Performance, and Reading’. Here – grounding their work in industry ‘readings’ via production study and interviews – they focus on production and performance of The Cherry Orchard, contrasting the Richard Eyre/Trevor Griffiths production of 1977 (reproduced in 1981 for BBC TV) with Adrian Noble's production at the Swan Theatre, Stratford, in 1995. In particular, they discuss the writing, directing, acting, and staging of Chekhov's ‘modernity’ in these productions, suggesting that whereas Noble referenced and yet simultaneously occluded class in his rehearsal style and staging, Griffiths and Eyre worked for a production which not only embodied the intra-class mobility of the Thatcher era in 1981, but also the ‘then’ of Chekhov's own particular engagement with modernity and environment. John Tulloch, Professor of Cultural Studies at Charles Sturt University, New South Wales, is author of Chekhov: a Structuralist Study. Tom Burvill is Associate Professor of Drama and Cultural Studies at Macquarie University, Sydney, where Andrew Hood is a PhD student working on reception cultures.
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Roberts, David. "Ravishing Strides: Signs of the Peripatetic in Early Modern Performance." New Theatre Quarterly 17, no. 1 (February 2001): 18–30. http://dx.doi.org/10.1017/s0266464x00014299.
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Actors' feet are accepted as part of their expressive equipment – but doubts are often expressed that this has always been so. The evidence of early English theatre history is adduced to suggest otherwise, while recent treatments of the peripatetic in literary studies argue that the ‘visible walk’ attains prominence only in the Romantic period. But David Roberts argues that, from the emergence of permanent theatres, walking offered a metonymy for performance which persisted throughout the seventeenth century. Cross-dressing highlighted the expressive potential of the feet, while close examination of play-texts implies evolving styles of the peripatetic in performance, and the scenic theatres of the Restoration frequently portrayed walking as a cultural activity bound up with the status of both actors and scenery in post-revolutionary London. David Roberts teaches English and Drama at University College Worcester, and has published widely on theatre and literature from 1550 to 1789. He leads an AHRB-funded project on theatre criticism.
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Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300005226.
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Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.
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Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice." Prospects 13 (October 1988): 1–35. http://dx.doi.org/10.1017/s0361233300006670.
Full textAbstract:
Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.
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Lavrov, Alexander V. "Historiographer and novelist-historiographer. Letters from D. S. Merezhkovsky to P. E. Shchegolev." Literary Fact, no. 19 (2021): 108–32. http://dx.doi.org/10.22455/2541-8297-2021-19-108-132.
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The publication is devoted to the relationship of Dmitry Merezhkovsky, one of the main authors of Russian modernism, and Pavel Shchegolev, an outstanding specialist in the history of the liberation movement and the socio-politi- cal life of Russia in the 18 th –19 th centuries. For the first time, 15 letters from Merezh- kovsky to Shchegolev (1905 –1914) are published. Along with a discussion of current events in the world of literature and journalism, the main topic of the correspondence is Merezhkovsky's work on historical compositions – the drama “Paul I”, the novels “Alexander I”, “December 14”. Shchegolev actively helped the writer in the selection of historical materials, provided copies of archival files of the investigation and tri- al of the Decembrists; he was impressed by Merezhkovsky's strict documentary ap- proach to the recreation of the heroes and the era of Alexander and Nikolay. The letters and scientific commentary highlight the contradictory perception of Merezhkovsky's works by contemporary Russian criticism.
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Westlake, E. J. "El Güegüence, post-Sandinista Nicaragua, and the Resistant Politics of Dancing." Congress on Research in Dance Conference Proceedings 2011 (2011): 58–64. http://dx.doi.org/10.1017/s0149767711000301.
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Folk dance fulfills a particular function in the survival of communal memory. Community history and identity live through the animated body. But in the case of El Güegüence, Nicaragua's hybrid Spanish-Nahuatl dance-drama, many feel it is a contested tradition with a contested set of significations. Within that contestation, communal memory is fractured and ruptured in ways that produce a unique and dynamic discourse.In this paper, I will focus on Irene López's reworking of El Güegüence as the dance piece El Gran picaro. López has been criticized for altering the “authentic” dance tradition, a criticism she answers by pointing out that the original dance was lost when only the artifact of the dramatic text was preserved. López's reworking functions as collective memory and as an act of restored tradition, an invention meant to stand in for the original as faithfully as the inventor can imagine.I will also examine the redeployment of El Güegüence by groups who have embraced the figure and the act of dancing the masked drama as an expression of the subaltern, the marginalized, and the closeted minority identities within the context of the national culture, specifically Grupo Relajo, with its playful workshops built around the popular story. Ultimately, El Güegüence represents an artifact of the erasure of dance and, by extension, the indigenous body. Both López and Grupo Relajo, through their staging, resurrect the body of the indigenous Other and create a vehicle for the body to move in resistance to such erasure.
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Trussler, Simon. "English Acting, Interactive Technology, and the Elusive Quality of Englishness." New Theatre Quarterly 12, no. 45 (February 1996): 3–5. http://dx.doi.org/10.1017/s0266464x0000957x.
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Acting style is arguably the most elusive of the theatre's always ephemeral traces – not least because each generation, while proclaiming its own actors to be more ‘natural’ than their predecessors, has tended in its criticism, as in actors' memoirs, to take style as a ‘given’. Anecdotage and plot synopsis have accordingly taken precedence over analysis of how performers actually worked and appeared on stage – let alone prepared their performances. Here, Simon Trussler introduces a project being launched at Goldsmiths, University of London, where he is Reader in Drama, to utilize the immense storage capacity of the CD-ROM both to record the evidence, verbal and pictorial, that has come down to us from the past, and to assess its relevance to present approaches to acting and to the playing of the classical repertoire. Specifically, the project aims to explore the ways in which the national identity – the quality of ‘Englishness’ – has been both reflected in and influenced by the ways in which it has been rendered on stage. In the succeeding article, Nesta Jones outlines the history and development of the English acting tradition, and some of the issues its consideration raises in relation to the Goldsmiths project. Simon Trussler was one of the founding editors of the original Theatre Quarterly in 1971, and has been co-editor of New Theatre Quarterly since its inception. The most recent of his many books on theatre and drama, The Cambridge Illustrated History of British Theatre, was runner-up for the 1994 George Freedley Award of the Theatre Libraries Association, being cited as ‘an outstanding contribution to the literature of the theatre’.
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Zubkov, Kirill Yu, and Vladimir V. Tikhomirov. "UNKNOWN REVIEW BY ALEKSANDR NIKITENKO OF THE COMEDY THE FOREST BY ALEXANDER OSTROVSKY IN THE RECEPTIVE HISTORY OF THE PLAY." Vestnik of Kostroma State University, no. 1 (2020): 125–31. http://dx.doi.org/10.34216/1998-0817-2020-26-1-125-131.
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For the fi rst time, we publish an unknown review written by Aleksandr Nikitenko, a member of Imperial Academy of Sciences, of the comedy by Alexander Ostrovsky «The Forest». This review was compiled on behalf of the commission that distributed Aleksey Uvarov’s awards for the playwrights after Alexander Ostrovsky submitted his play to the competition. Review by Aleksandr Nikitenko was read at a meeting of the commission; its copy has been discovered in his personal archive. Alexander Ostrovsky participated in the competition for Aleksey Uvarov’s award for more than 15 years, but he achieved success only twice: with his «The Storm» in 1860 and with the drama «Sin and Sorrow Are Common to All» in 1863. Aleksandr Nikitenko, himself a member of the academic commission, for several years was reviewing all the works that competed for the prize, and almost always gave negative conclusions about them. He reacted sharply negatively to «The Forest» as well. In the article, Aleksandr Nikitenko’s review is considered in the context of literary, critical and theatrical criticism of the comedy by Alexander Ostrovsky, which were released shortly after its publication and production. The publication was prepared on the basis of archival documents found in St. Petersburg department of the Archive of the Russian Academy of Sciences and the Manuscript Department of the Institute of Russian Literature of the Russian Academy of Sciences
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Brannigan, John, Marcela Santos Brigida, Thayane Verçosa, and Gabriela Ribeiro Nunes. "Thinking in Archipelagic Terms: An Interview with John Brannigan." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (May 13, 2021): 3–28. http://dx.doi.org/10.12957/palimpsesto.2021.59645.
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John Brannigan is Professor at the School of English, Drama and Film at University College Dublin. He has research interests in the twentieth-century literatures of Ireland, England, Scotland, and Wales, with a particular focus on the relationships between literature and social and cultural identities. His first book, New Historicism and Cultural Materialism (1998), was a study of the leading historicist methodologies in late twentieth-century literary criticism. He has since published two books on the postwar history of English literature (2002, 2003), leading book-length studies of working-class authors Brendan Behan (2002) and Pat Barker (2005), and the first book to investigate twentieth-century Irish literature and culture using critical race theories, Race in Modern Irish Literature and Culture (2009). His most recent book, Archipelagic Modernism: Literature in the Irish and British Isles, 1890-1970 (2014), explores new ways of understanding the relationship between literature, place and environment in 20th-century Irish and British writing. He was editor of the international peer-reviewed journal, Irish University Review, from 2010 to 2016.
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CHAUDHURI, ROSINKA. "Cutlets or Fish Curry?: Debating Indian Authenticity in Late Nineteenth-Century Bengal." Modern Asian Studies 40, no. 2 (April 18, 2006): 257–72. http://dx.doi.org/10.1017/s0026749x06001740.
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Current discussions on the development of modern literary genres and aesthetic conventions in nineteenth-century colonial Bengal have tended, perhaps because of its relative neglect in the modern day, to ignore the seminal role of poetry in formulating the nationalist imagination. In academic discourse, the coming together of the birth of the novel, the concept of history and the idea of the nation-state under the sign of the modern has led to a collective blindness toward the forceful intervention of poetry and song in imagining the nation. Thus Dipesh Chakrabarty, in a chapter devoted to poetry in Provincializing Europe, ironically elides any mention of it at the crucial instance of the formulation of national modernity, when he takes his argument about the division between the prosaic and the poetic in Tagore further to say, without mentioning the seminal role of poetry, that: ‘The new prose of fiction—novels and short stories—was thus seen as intimately connected to questions of political modernity’. Partha Chatterjee discusses, in the introduction to The Nation and Its Fragments, the shaping of critical discourse in colonial Bengal in relation to drama, the novel, and even art, but ignores completely the fiercely contested and controversial processes by which modern Bengali poetry and literary criticism were formulated. ‘The desire to construct an aesthetic form that was modern and national’, to use his words, ‘was shown in its most exaggerated shape’ not, it is my contention, in the Bengal school of art in the 1920s as he says, but long before that in the poetry of Rangalal Banerjee, Hemchandra Bandyopadhyay, Madhusudan Dutt, and Nabinchandra Sen, and in the literary criticism and controversy surrounding their work.
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Юрченкова, Оксана Николаевна. "ON DRAMA POETICS AND MORE… THE HISTORIOGRAPHIC REVIEW OF SCIENTIFIC ACTIVITY OF PROFESSOR VALENTINA YE. GOLOVCHINER." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 206–27. http://dx.doi.org/10.23951/1609-624x-2020-5-206-227.
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Введение. Статья приурочена к 75-летнему юбилею профессора В. Е. Головчинер и посвящена анализу ее научной деятельности. Цель статьи – определить этапы и направления научно-педагогической деятельности ученого. Материалы и методы. Материалом исследования послужили научные труды (статьи, доклады, монографии) В. Е. Головчинер и ее учеников. Систематизация и описание результатов научной работы ученого осуществлялись в сопоставлении с ведущими концепциями отечественной филологии. Результаты и обсуждение. Впервые научное наследие В. Е. Головчинер рассмотрено как целостное явление; выявлены принципы, которыми руководствовался ученый в разные периоды научной деятельности; выделены ключевые идеи ее работ: 1) формирование эпической драмы как специфического направления в отечественном литературном процессе ХХ в., обусловленного культурно-историческими обстоятельствами и имеющего две типологические разновидности – метафорическую и метонимическую – с характерными чертами поэтики; 2) специфика художественного произведения во многом обусловлена родовыми чертами, поскольку каждый род литературы имеет свои выразительные возможности; 3) закономерная смена жанровой парадигмы в эпоху неклассической поэтики приводит к тому, что канонические жанры уступают место авторским моделям творчества, выступающим в качестве нового способа завершения художественного целого. Теоретическая значимость исследования: научное наследие В. Е. Головчинер введено в историко-научный контекст; освещены основные направления ее исследований; проанализирован эвристический потенциал теоретических положений и кратко охарактеризованы тезисы основных работ. Практическая значимость исследования: выводы и результаты исследования могут быть использованы при составлении рабочих программ филологических дисциплин, разработке учебных материалов, пособий по истории отечественного литературоведения. Заключение. Научные разработки профессора В. Е. Головчинер не только являются концептуальными в отдельных вопросах теории литературы, открывают интересные историко-литературные факты, но и отражают общие тенденции филологической науки, развивают достижения томской школы литературоведения, изучающей отечественную драму. Introduction. The article is devoted to the 75th anniversary of professor V. Ye. Golovchiner. Aim and objectives. The aim of the article is to determine the stages and directions of scientific and pedagogical activity of Professor V. Golovchiner. Material and methods. The research material (articles, reports, monographs) by V. E. Golovchiner and her students served as the material for the study. The systematization and description of the results of scientific activity was carried out in comparison with the leading concepts of Russian philology. Results and discussion. For the first time, her scientific heritage is examined as a whole; the principles are revealed by which the scientist was guided during the different periods of her scientific activity; the key ideas of her papers are selected: 1. the formation of an epic drama as a specific direction in Russian literary process of the 20th century caused by cultural-historical conditions and having two typological versions – metaphorical and metonymical – with characteristic features of poetics; 2. the specifics of an artwork is in many respects caused by ancestral features as each literary genre has its own expressive possibilities; 3. the natural change of a genre paradigm during the era of nonclassical poetics leads to that the initial genres give way to the author’s models of creativity which represent a new way to end of an artistic whole. The theoretical relevance of the research: V. Ye. Golovchiner’s scientific heritage is introduced into the historical scientific context; the directions of her scientific activity are studied; the heuristic potential of theoretical positions is analyzed and theses of the main papers are shortly characterized. The practical relevance of the research: the conclusions and results of the research can be used to develop work programs of subjects in different areas of philology, to develop the teaching materials, guide books on the history of Russian literary criticism. Conclusion. The author of the paper comes to conclusions that the scientific developments of the professor are not only conceptual in certain questions of the theory of literature, open interesting historical literary facts but also reflect general trends of a philology science, develop the achievements of Tomsk school of literary criticism studying Russian drama.
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Mięsowska, Lidia. "Między postkomunizmem a postmodernizmem. Najnowszy dramat rosyjski w poszukiwaniu tożsamości kulturowej." Miscellanea Posttotalitariana Wratislaviensia 4 (April 26, 2016): 59–77. http://dx.doi.org/10.19195/2353-8546.4.6.
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Between post-communism and postmodernism. The new Russian drama in search for its cultural identity. Russian drama after 1991, suspended between memory and oblivion, attempts to process an overwhelming trauma of its own tragic history. Evgeny Grishkovets, Vladimir Sorokin, Ludmila Petrushevskaya, Alexey Shipenko, Oleg Bogayev, Vasily Sigarev, the Presnyakov brothers, Ivan Vyrypaev and others show experiences preceding and following Perestroika and demonstrate the scale of traumatic consequences of old structures disintegration as well as dangers connected with entering the area of freedom. This way Russian drama underwent all the development stages ranging from admiration for freedom to its negation, all the time without losing an interest in the internal man. Therefore criticism of the communist ideology as a kind of utopia and visions showing the risk of the rebirth of totalitarianism in Russia coexist along with the stream of consciousness depicting what is happening in the soul of a contemporary Russian. The process of self-identification of the human being that is decentralised, standardised and attached to stereotypes of mass awareness takes place within the framework of postmodernist mixture of stylistics and aesthetics, deconstruction of the reality and the language, play with culture codes, which is most fully expressed through the ongoing process of searching for cultural identity of the discussed works.Между посткоммунизмом и постмодернизмом. Современная русская драматургия в поисках культурной идентичности.Русская драматургия после 1991 года, зависшая между памятью и забвением, пытается проработать сковывающую травму своей трагической истории. Евгений Гришковец, Владимир Сорокин, Людмила Петрушевская, Алексей Шипенко, Олег Богаев, Василий Сигарев, братья Пресняковы, Иван Вырыпаев и др. показывают опыт «до» и «после» революции перестройки, демонстрируют масштаб травматических последствий распада предыдущих структур, а также опасности, сопряженные с вхождением в сферу свободы. Таким образом, драматургия в России прошла все стадии развития — от восторга до отрицания свободы, не теряя одновременно заинтересованности внутренним человеком. Отсюда критика утопического характера коммунистической идеологии или образы, указывающие на опасность возрождения тоталитаризма в России, которые сосуществуют с потоком сознания, воссоздающим то, что происходит в душе современного русского человека. Процесс самоидентификации децентрализованного, стандартного и привязанного к стереотипам массового сознания человека происходит в рамках постмодернистского смешения стилистик и эстетик, деконструкции действительности и языка, игры с культурными кодами, что наиболее полно показывает незаконченный процесс поиска культурной идентичности обсуждаемого творчества.
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Jones, Susan. "Diaghilev and British Writing." Dance Research 27, no. 1 (May 2009): 65–92. http://dx.doi.org/10.3366/e0264287509000255.
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This article explores the diversity of British literary responses to Diaghilev's project, emphasising the way in which the subject matter and methodologies of Diaghilev's modernism were sometimes unexpectedly echoed in expressions of contemporary British writing. These discussions emerge both in writing about Diaghilev's work, and, more discretely, when references to the Russian Ballet find their way into the creative writing of the period, serving to anchor the texts in a particular cultural milieu or to suggest contemporary aesthetic problems in the domain of literary aesthetics developing in the period. Figures from disparate fields, including literature, music and the visual arts, brought to their criticism of the Ballets Russes their individual perspectives on its aesthetics, helping to consolidate the sense of its importance in contributing to the inter-disciplinary flavour of modernism across the arts. In the field of literature, not only did British writers evaluate the Ballets Russes in terms of their own poetics, their relationship to experimentation in the novel and in drama, they developed an increasing sense of the company's place in dance history, its choreographic innovations offering material for wider discussions, opening up the potential for literary modernism's interest in impersonality and in the ‘unsayable’, discussions of the body, primitivism and gender.
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Walton, Benjamin. ""Quelque peu thééââtral": The Operatic Coronation of Charles X." 19th-Century Music 26, no. 1 (2002): 3–22. http://dx.doi.org/10.1525/ncm.2002.26.1.3.
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The intersection of politics and spectacle has a long tradition in French history, from Louis XIV's Versailles to the streets of revolutionary Paris. As a result, Chateaubriand's criticism of the coronation of Charles X in May 1825 as theatrical may at first seem unremarkable. His description of the occasion as a dramatic performance rather than a real event, however, deserves closer examination. In line with Chateaubriand, this article suggests that the anachronistic final Bourbon coronation can best be understood, at the most literal level, as an opera, with music, resplendent costumes, dashes of orientalism (the envoy for the Bey of Tunis provoked much interest), hired claqueurs, and the whole of Rheims turned into a stage set. Conversely, the coronation's reliance on operatic props and aesthetics can shed light on the dramatic crisis that led to the appearance of grand opééra. The largest piece written to celebrate the coronation, the multianchored Pharamond, was performed at the Paris Opééra, but failed to command either critical or popular acclaim, in contrast with Rossini's Il viaggio a Reims at the Thééââtre Italien. Yet Pharamond's troubled negotiation between the demands of historical drama and celebratory Pièèce de circonstance mirrors the logic that underpinned the planning of the coronation: a desire to invoke the authority of French history while bypassing unresolved memories of the Revolution and the Empire. Ultimately, the failure of Pharamond and its selective appropriation of history offer a productive mode for understanding the connections between opera, ceremonial language, and historical precedent, as well as those between musical works and large-scale political events.
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Lev-Aladgem, Shulamith. "Public Theatre, Community Theatre, and Collaboration: Two Case Studies." New Theatre Quarterly 26, no. 4 (November 2010): 369–82. http://dx.doi.org/10.1017/s0266464x10000679.
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In 1986 professional theatre practitioners working in two underprivileged neighbourhoods in greater Tel Aviv in Israel created in collaboration with the local residents two large-scale productions. In this article Shulamith Lev-Aladgem studies these rare encounters between professional public theatre and amateur, community-based theatre in Israel, employing a method similar to that of the historian who employs micro-history in order to reveal the excluded past of muted groups in a given society. Both productions – including the intentions of their creators and participants, the power struggles, and the results – serve as an historical record rich in information regarding Israeli society; and through the micro-history presented here the social and cultural role of the institutional theatre in general, and in Israel in particular, is also explored. Shulamith Lev-Aladgem is a senior lecturer, researcher, and practitioner, chair of the Faculty MA Program of Expressivity and Creativity in the Arts, and Head of Community-Based Theatre Studies in the Theatre Department of Tel Aviv University. She is also a community-based theatre facilitator/director and a trained actress who uses her acting experience in her research and teaching. Her recent publications include articles in Theatre Research International, Theory and Criticism, Social Identities, Israeli Sociology, and Research in Drama Education, and the full-length studies, Standing Front Stage: Resistance, Celebration and Subversion in Israeli Community-Based Theatre (Haifa University Press, 2010) and Theatre in Co-Communities: Articulating Power (Palgrave Macmillan, 2010).
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Kasmer, Lisa. "National Trauma and Romantic Illusions in Percy Shelley’s The Cenci." Humanities 8, no. 2 (May 14, 2019): 94. http://dx.doi.org/10.3390/h8020094.
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Percy Shelley responded to the 1819 Peterloo Massacre by declaring the government’s response “a bloody murderous oppression.” As Shelley’s language suggests, this was a seminal event in the socially conscious life of the poet. Thereafter, Shelley devoted much of his writing to delineating the sociopolitical milieu of 1819 in political and confrontational works, including The Cenci, a verse drama that I argue portrays the coercive violence implicit in nationalism, or, as I term it, national trauma. In displaying the historical Roman Cenci family in starkly vituperous manner, that is, Shelley reveals his drive to speak to the historical moment, as he creates parallels between the tyranny that the Roman pater familias exhibits toward his family and the repression occurring during the time of emergent nationhood in Hanoverian England, which numerous scholars have addressed. While scholars have noted discrete acts of trauma in The Cenci and other Romantic works, there has been little sustained criticism from the theoretical point of view of trauma theory, which inhabits the intersections of history, cultural memory, and trauma, and which I explore as national trauma. Through The Cenci, Shelley implies that national trauma inheres within British nationhood in the multiple traumas of tyrannical rule, shored up by the nation’s cultural memory and history, instantiated in oppressive ancestral order and patrilineage. Viewing The Cenci from the perspective of national trauma, however, I conclude that Shelley’s revulsion at coercive governance and nationalism loses itself in the contemplation of the beautiful pathos of the effects of national trauma witnessed in Beatrice, as he instead turns to a more traditional national narrative.
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Kelly, Veronica. "Beauty and the Market: Actress Postcards and their Senders in Early Twentieth-Century Australia." New Theatre Quarterly 20, no. 2 (April 21, 2004): 99–116. http://dx.doi.org/10.1017/s0266464x04000016.
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A hundred years ago the international craze for picture postcards distributed millions of images of popular stage actresses around the world. The cards were bought, sent, and collected by many whose contact with live theatre was sometimes minimal. Veronica Kelly's study of some of these cards sent in Australia indicates the increasing reach of theatrical images and celebrity brought about by the distribution mechanisms of industrial mass modernity. The specific social purposes and contexts of the senders are revealed by cross-reading the images themselves with the private messages on the backs, suggesting that, once outside the industrial framing of theatre or the dramatic one of specific roles, the actress operated as a multiply signifying icon within mass culture – with the desires and consumer power of women major factors in the consumption of the glamour actress card. A study of the typical visual rhetoric of these postcards indicates the authorized modes of femininity being constructed by the major postcard publishers whose products were distributed to theatre fans and non-theatregoers alike through the post. Veronica Kelly is working on a project dealing with commercial managements and stars in early twentieth-century Australian theatre. She teaches in the School of English, Media Studies, and Art History at the University of Queensland, is co-editor of Australasian Drama Studies, and author of databases and articles dealing with colonial and contemporary Australian theatre history and dramatic criticism. Her books include The Theatre of Louis Nowra (1998) and the collection Our Australian Theatre in the 1990s (1998).
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REINELT, JANELLE. "Generational shifts." Theatre Research International 35, no. 3 (October 2010): 288–90. http://dx.doi.org/10.1017/s0307883310000593.
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Thirty-five years, the age of TRI, is roughly the length of time I have been involved in our discipline. I completed my Ph.D. in 1974 and entered the profession on the cusp of a generational shift. During my first decade in the academy, a number of new young scholars emerged and began to take the places of an older cohort who were primarily theatre historians and/or drama critics and interpreters. The theory explosion changed the way that both theatre history and dramatic criticism were carried out, and a whole new range of methods and objects of study began to appear in our journals and conferences. Post-structural and postmodernist ideas upset the reigning conventions of scholarship and also influenced creative artists who changed their practice to reflect these new ideas. Feminism transformed our field, as did new research on race, class and sexuality, while competing theories of the subject brought forward psychoanalysis and phenomenology as important tools for performance analysis. Cultural studies and the new historicism challenged positivist historiography and began to change the kind of theatre history (including subjects and documents) scholars researched and wrote about. Political critique was in the ascendency, after a battle to discredit what many of us perceived as a false objectivity in previous scholarship. This became, eventually, the new orthodoxy for many of us, and the senior scholars in our field today (for example Sue-Ellen Case, Elin Diamond, Josette Féral, Erika Fisher-Lichte, Freddie Rokem, Joseph Roach) all participated in making these major changes happen as young scholars – while not necessarily agreeing with each other: the new generation was thoroughly heterodox in its approach to methods and topics.
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Nägele, Horst. "Warum wir uns mit N.F.S Grundtvigs idealismus-kritischen Abhandlungen beschäftigen." Grundtvig-Studier 46, no. 1 (January 1, 1995): 205–16. http://dx.doi.org/10.7146/grs.v46i1.16189.
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Warum wir uns mit N.F.S. Grundtvigsidealismus-kritischen Abhandlungen beschäftigenBy Horst NägeleHorst Nägele begins his article with the statement that circumstantial evidence suggests that the democratic credibility of the Federal Republic of Germany may be questioned. Nägele argues for this view by comparing social conventions in Scandinavia and Germany.He adduces historical material to support his theory of a cultural difference on this point. The criticism levelled by the poet Jens Baggesen at the High German language for its remoteness from reality, is dealt with first. Then follows a discussion of the similar criticism by Grundtvig of the idealistic German philosophy, which, according to Grundtvig, is linked up with the Imperialist inclinations of Germany. Hence Germany’s propensity to .litism which finds expression in the New High German literary language as well as in philosophy. In Grundtvig’s view, the connection between the litist, and therefore Imperialist, unitary culture of Germany and the idealistic philosophy manifests itself in the detachment from reality that is characteristic of Schelling’s philosophy. When Schelling talks about the I that embodies itself, it becomes the image of nothing perceiving itself, in contrast to an I attached to a body. Grundtvig also finds evidence of this German tendency towards a missing sense of reality in Schiller’s poetical works. On a close examination of Grundtvig’s writings, it will appear that Friedrich Schiller’s (quasi-idealistic) tragedies are as a whole seen to convey the notion of heroes being (lifeless) shadows, easily killed. For Schiller’s higher, moral human nature, determined by liberty, cannot conquer death; in Grundtvig’s view, only the spirit of history can do that. Grundtvig’s view of life contrasts, for instance, with Schiller’s drama Wallenstein, where the protagonist chooses of his own free will to submit to death and evil.After discussing Grundtvig’s interpretation of Schiller’s dramas, Nägele returns to Schelling’s philosophy as an example of a tendency in German idealism. As Grundtvig understood it, life depends on truth. Grundtvig attaches importance to immediate actuality (‘fundamental and ultimate reality’) as it is the prerequisite for the conception that the ideal is the cause of .all temporal reality.. Grundtvig’s attitude contrasts sharply with what he calls the delusive view of the German idealistic philosophers who despise the body and annihilate life in order to idolize an egocentric construct, with the disastrous consequence that life doesn’t count. Thus Schelling mixes good with evil, truth with falsehood, since the absolute ideal, reason perceiving itself, is given the highest priority, i.e. preceding reality. According to Grundtvig, what is ideal, what is possible, always depends on reality, on what is real. In Grundtvig’s view, truth can only be perceived by man in his life on earth in contradistinction to falsehood; therefore it is impossible to identify the divine perception of the eternal truth and the human recognition of truth.This is the main line of thought in Grundtvig’s criticism of Schelling’s philosophy. It is Nägele’s argument that this criticism is highly topical since it is reflected in the debate over morals today, in the endeavours to create dignified social conventions, and in the complex issue of the future character of the European community as either a union or a loose cooperative structure.
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Fuehrer, Bernhard. "The Columbia History of Chinese Literature. Edited by Victor Mair. [New York: Columbia University Press, 2001. 1,342+xxiv pp. $75.00; £52.50. ISBN 0-231-10984-9.]." China Quarterly 178 (June 2004): 535–36. http://dx.doi.org/10.1017/s0305741004390296.
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Following his Columbia Anthology of Traditional Chinese Literature (1994) and the Shorter Columbia Anthology of Traditional Chinese Literature (2000), the Columbia History of Chinese Literature intends to complement these two widely used readers. Edited by Victor H. Mair, the 55 chapters of this single-volume history of Chinese literature are chronologically arranged with thematic chapters interspersed. Indeed, a closer look at the chapters reveals that the book at hand follows the traditional dictum of wen shi zhe bu fenjia, i.e. that literature, history and philosophy should not be separated but regarded as one field of studies. Hence the scope of this history goes far beyond the scope of what is traditionally subsumed under the heading of literature. In addition to the topics (all genres and periods of poetry, prose, fiction, and drama) that one expects in a book of this sort, wit and humour, proverbs and rhetoric, historical and philosophical writings, classical exegesis, literary theory and criticism, traditional fiction commentary, as well as popular culture, the impact of religion upon literature, the role of women, and the relationship with non-Chinese languages and peoples (ethnic minorities, Korea, Japan, Vietnam) feature as topics of individual chapters.Most of the chapters are written by leading specialists in those areas and are highly informative as well as concisely presented. Moreover, a number of chapters are thought-provoking enough to inspire questions that may lead towards a more focused research on hitherto neglected or less well-documented topics. In this sense, The Columbia History of Chinese Literature may also be perceived as a potential major impetus for further developments in the study of pre-modern and modern Chinese literature and related fields. Since the volume aims at bringing the riches of China's literary tradition into focus for a general readership, the majority of chapters can probably be best described as outlines of specific developments that should encourage readers to consult more specialized publications.
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Kachorovskaya, A. E. "On the Reception of the Myth of Prometheus in Austrian Literature of 19th-20th Centuries." Nauchnyi dialog, no. 3 (March 30, 2020): 221–35. http://dx.doi.org/10.24224/2227-1295-2020-3-221-235.
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This article focuses its attention on the motive of resistance characteristic of Austrian literature of the 19th - 20th centuries, which is considered from the point of view of the historical and literary relationship with the myth of Prometheus. The history of the issue is reviewed. A selective analysis of the versions of the Promethean myth in the Austrian historical and literary context of the 19th-20th centuries, which is part of the pan-European literary and philosophical heritage, is given. The stylistic and genre originality of Austrian interpretations of the myth of Prometheus is proved on the basis of a study of a number of works. The artistic reception of the image of Prometheus in the poem by Z. Lipiner "Liberated Prometheus", little studied in Russian literary criticism is considered in the article. Attention is paid to the version of the Promethean myth in the literature of Austrian Art Nouveau (on the example of F. Kafka's little prose). The issue of conflicting trends in the development of Austrian literature of the 20th century, affecting the interaction of the motive of resistance with the Promethean myth, is investigated by the example of M. Gruber's essay. The correlation of the Austrian versions of the motive of resistance with the myth of Prometheus is proved. The results of the study confirm the significance of the Promethean myth in the Austrian reception of the 19th-20th centuries, which has more pronounced features of drama and theatricality in relation to the European context.
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Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.
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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.
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Belle, Marie-Alice. "“Comme espics dans les plaines”: Patterns of Translation of Robert Garnier’s Epic Similes in Thomas Kyd’s Cornelia (1594)." Renaissance and Reformation 40, no. 3 (November 24, 2017): 77–108. http://dx.doi.org/10.33137/rr.v40i3.28737.
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Although celebrated in its time as a worthy contribution to the poetic experiments of the late Elizabethan age, Thomas Kyd’s 1594 Cornelia, translated from Robert Garnier’s Cornélie (1574), has long been held by modern criticism as a minor work in the playwright’s career. Previous attempts to rehabilitate the dramatic and poetic values of Kyd’s translation have focused on the metaphoric networks that underlie Kyd’s appropriation of Garnier’s play or on the political aspects of Kyd’s treatment of historical figures and themes. This article examines more specifically Kyd’s approach to Garnier’s epic similes—many of which are actually borrowed from both classical authors and contemporary poets. By exploring the inter-generic and intertextual connections established in Kyd’s translation, this article maps out the literary and cultural trajectories involved in the appropriation and emulation of Continental tragic models, thus highlighting Kyd’s experiments with various kinds of drama, clarifying the play’s connection with the productions of the Sidney-Herbert “circle,” and establishing its significance in late Elizabethan literary culture.
En 1594 paraissait Cornelia, traduction de la tragédie de Robert Garnier Cornélie (1574) par Thomas Kyd. Bien que célébrée en son temps comme une contribution importante aux expérimentation poétiques et dramatiques propres à l’ère élisabéthaine, Cornelia a été longtemps considérée par la critique comme une pièce mineure dans la carrière dramatique de Kyd. Depuis quelques temps, cependant, on assiste à une certaine réhabilitation de l’oeuvre, avec la mise en valeur des réseaux métaphoriques qui traversent la traduction et des enjeux politiques qui sous-tendent, chez Kyd, la réinterprétation des figures et thématiques antiques du théâtre de Garnier. On s’intéresse ici particulièrement à la traduction des comparaisons épiques qui abondent chez Garnier, et qui sont souvent elles-mêmes imitées des auteurs classiques, ou de poètes contemporains. En mettant en valeur les liens intertextuels et les croisements génériques établis par Kyd, on offre ici un aperçu des trajectoires culturelles qui marquent chez lui l’appropriation et l’émulation du modèle tragique français. On vise ainsi à souligner la dimension expérimentale de l’écriture dramatique de Kyd, à clarifier ses relations avec les Sidney-Herbert et leur fameux ‘cercle’ littéraire, et à réévaluer la place de Cornelia dans le contexte littéraire de la fin de l’ère élisabéthaine.