Bibliografías temáticas / English drama English drama Theater Theater Magic in literature

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Literatura académica sobre el tema "English drama English drama Theater Theater Magic in literature"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "English drama English drama Theater Theater Magic in literature"

1

Paiva, Leila Piovesan Garcia, Lilian Martins, and Monica Martinez. "O FUTURO DO JORNALISMO LITERÁRIO: John S. Bak." Revista Observatório 4, no. 6 (2018): 86–116. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n6p86.

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Perfilar um dos estudiosos contemporâneos mais expressivos do Jornalismo Literário mundial é o casamento perfeito entre a responsabilidade e o desafio profissional. John Steven Bak é um homem complexo, como todo ser humano, mas de intrigante e singular personalidade. Estadunidense radicado na França há 20 anos, o professor de Literatura Americana na Universidade de Lorraine (FR) integra o grupo de pesquisadores do Centro de Pesquisas Interdisciplinares de Estudos Ingleses (I.D.E.A), tem pós-doutorado pela Universidade de Sorborne (FR), é doutor e mestre pela Ball State University (EUA) e bacha
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2

Bednarz, James P. "Jonson, Marston, Shakespeare and the Rhetoric of Topicality." Ben Jonson Journal 27, no. 2 (2020): 155–76. http://dx.doi.org/10.3366/bjj.2020.0282.

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The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Ha
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3

Truc, Le Quang. "Theater in education at Ho Chi Minh City Open University in Vietnam: students’ awareness of benefits and challenges in English and American literature classes." SOCIAL SCIENCES 9, no. 1 (2020): 28–47. http://dx.doi.org/10.46223/hcmcoujs.soci.en.9.1.269.2019.

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This study examined whether the students participating in the drama program “THEATER IN EDUCATION: English and American Literature Classes’ Performances, 2017” at Ho Chi Minh City Open University in Vietnam perceived the benefits and challenges of the Theater in Education method as demonstrated in previous research in the field of foreign language learning. The data needed was collected by means of a questionnaire that consisted of seven questions. Similarities and differences between the findings of the study and what had been reported in previous research studies were then discussed. Hopeful
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4

Eriks Cline, Lauren. "The Long Run of Victorian Theater." Victorian Literature and Culture 48, no. 3 (2020): 623–31. http://dx.doi.org/10.1017/s106015032000025x.

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It's March 2020 as I write this, and the theaters are closed. Broadway is dark, and the Globe is once again shut due to a plague. Perhaps “self-isolation” is a strange condition under which to be thinking about crowded Victorian playhouses. As I make dates to watch movies with friends hundreds of miles away on the Netflix Party app, the media environment in which I pursue entertainment has perhaps never felt more dissimilar to that of nineteenth-century theatergoers. But, then again, maybe the photos of empty auditoria and deserted streets are the best demonstration of the space that public cu
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5

Keener, Andrew S. "Japan Dramas and Shakespeare at St. Omers English Jesuit College." Renaissance Quarterly 74, no. 3 (2021): 876–917. http://dx.doi.org/10.1017/rqx.2021.103.

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This essay examines how Catholics at the English Jesuit College at Saint-Omer reflected on Japanese religious politics during the 1620s and 1630s, both through translated mission reports and drama. This analysis expands scholars’ view of English encounters with Japan; it also decenters predominantly Eurocentric approaches to early modern Jesuit education and theater. The essay concludes with a discussion of Shakespeare and George Wilkins's “Pericles,” a quarto playbook of which was possessed by St. Omers and which, through the generic elements of romance it shared with the Japan material, prov
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Lee, Josephine. "Disciplining theater and drama in the English department: Some reflections on ‘performance’ and institutional history." Text and Performance Quarterly 19, no. 2 (1999): 145–58. http://dx.doi.org/10.1080/10462939909366256.

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7

Roberts, Matthew. "Ajax in America, or Catharsis in the Time of Terrorism." New Theatre Quarterly 36, no. 4 (2020): 306–19. http://dx.doi.org/10.1017/s0266464x20000652.

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Originally funded by the US Department of Defense in 2009, Theater of War Productions’ first project, Theater of War, performs dramatic readings of Ajax at military bases, hospitals, and academic institutions throughout the United States. Developed by Bryan Doerries, Theater of War brings awareness to the epidemic of suicide and other forms of violence committed by American military service members in the wake of the United States’ so-called ‘war on terror’. But like Ajax, American military personnel typically turn to violence only after being betrayed by the institutions that they served. Thi
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8

Hassan, Waïl S. "Oyono in Arabic." PMLA/Publications of the Modern Language Association of America 128, no. 1 (2013): 127–32. http://dx.doi.org/10.1632/pmla.2013.128.1.127.

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A rendition by nayif kharma of michael etherton's theatrical adaptation of john reed's english translation, the arabic version of Ferdinand Oyono's novel Une vie de boy is at three removes from the original French. Under the title Al-khādim (“The Servant”), the play appeared in 1982 in the series Min al-masrah al-'ālami (“From World Theater”), published by Kuwait's Ministry of Culture. Since to all effects and purposes Etherton's theatrical adaptation is Kharma's original, it is necessary to begin by describing how the Zambian-born British writer who taught drama at the University of Zambia in
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Maguire, Nancy Klein. "The Theatrical Mask/Masque of Politics: The Case of Charles I." Journal of British Studies 28, no. 1 (1989): 1–22. http://dx.doi.org/10.1086/385923.

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Britain now wear's the sock; the Theater's clean Transplanted hither, both in Place and Scene.Martin Butler and Jonathan Dollimore have recently documented the importance of drama in English political life before 1642. Such scholarship, however, has stopped cold at the great divide of 1642. Except for Lois Potter in “‘True Tragicomedies’ of the Civil War and Interregnum,” no one has considered the relationship between politics and theater while the theaters were officially closed. Scholars have thereby missed a seminal question in understanding the discourse and complex political maneuvering e
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Westgate, J. Chris. "David Hare's Stuff Happens in Seattle: Taking a Sober Account." New Theatre Quarterly 25, no. 4 (2009): 402–18. http://dx.doi.org/10.1017/s0266464x09000682.

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As The Power of Yes, the third play by David Hare to document recent history, opens at London's National Theatre, J. Chris Westgate examines in this article Hare's Stuff Happens in a regional production in the United States, at Seattle's A Contemporary Theater in 2007. He tracks the emphasis placed on controversy during the advertising and marketing of the play, which stands in direct contrast to the response to the play, which was received with self-satisfaction rather than increased insight in this highly liberal city. From this contrast, he discusses the way that this production of Hare's p
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Tesis sobre el tema "English drama English drama Theater Theater Magic in literature"

1

Coffey, Alexandra. "Höllischer Ehrgeiz und himmlische Macht : Herrschafts- und Magiediskurse im Theater der englischen Renaissance /." München : Utz, 2009. http://d-nb.info/988230267/04.

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Pruitt, John. "British drama museums : history, heritage, and nation in collections of dramatic literature, 1647-1814 /." View abstract, 2005. http://wwwlib.umi.com/dissertations/fullcit/3203336.

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Keller, Michelle Margo 1954. "A study of pathological narcissism in Renaissance English tragic drama." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289178.

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The central conviction of this dissertation is that the tenets of the psychiatric medical category, pathological narcissism, explain, in a way other psychological interpretations have not adequately addressed, why the main characters in several important English Renaissance tragic dramas become enmeshed in difficulty and come to ruin. Evidence in the plays themselves invites the use of this particular interpretive category. William Shakespeare's Coriolanus in Coriolanus, Vindice in Cyril Tourneur's The Revenger's Tragedy, Edward in Christopher Marlowe's Edward II, and John Frankford in Thomas
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4

Nagase, Mariko. "Literary editing of seventeenth-century English drama." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3628/.

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This thesis explores how literary editing for the dramatic publication was developed in seventeenth-century England. Chapter 1 discusses how the humanist scholars embraced the concept of textual editing and put it into practice about a half century after the invention of the press. Chapter 2 addresses the development of the concept of literary editing in seventeenth-century England by investigating the editorial arguments preserved in the paratextual matter. Chapter 3 explores Jonsonian convention of textual editing which was established in imitation of classical textual editing of the humanis
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5

MacKenzie, Sarah. "Representations of Rape and Gendered Violence in the Drama of Tomson Highway." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28696.

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In The Rez Sisters (1986), Dry Lips Oughta Move to Kapuskasing (1989), and Rose (1999) renowned Cree dramatist Tomson Highway mounts a dramaturgical critique of colonialism, focusing most prominently upon the disenfranchisement of Native women and the introduction of Western gender roles into First Nations cultures. Within each of the three "Rez Plays," he employs the metaphor of rape to depict cultural, territorial and spiritual dispossession brought about by colonization. However, in hegemonic narratives of colonization, Indigenous women are similarly represented in connection with the land
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6

Sharrett, Elizabeth. "Beds as stage properties in English Renaissance drama : materializing the lifecycle." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5153/.

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This thesis examines beds as stage properties in English Renaissance drama. It argues that their indissoluble associations with the major rites of passage in the early modern lifecycle – birth, marriage, and death – created particular dramatic effects in performance not immediately obvious to audiences today. Chapter one identifies the theoretical and methodological frameworks informing the thesis, and addresses assumptions about the physical structure of beds from the period and their appearance as props. The succeeding chapters each explore different rites of passage. Chapter two considers c
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7

Oram, Yvonne. "Older women in Elizabethan and Jacobean drama." Thesis, University of Birmingham, 2002. http://etheses.bham.ac.uk//id/eprint/1778/.

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This thesis explores the presentation of older women on stage from 1558-1625, establishing that the character is predominantly pictured within the domestic sphere, as wife, mother, stepmother or widow. Specific dramatic stereotypes for these roles are identified, and compared and contrasted with historical material relating to older women. The few plays in which these stereotypes are subverted are fully examined. Stage nurse and bawd characters are also older women and this study reveals them to be imaged exclusively as matching stereotypes. Only four plays, Peele’s The Old Wives Tale, Fletche
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8

O'Brien, Richard Thomas. "Shakespeare and the development of verse drama, 1660-2017." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7962/.

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This thesis offers an account of how verse drama, despite the entrenched cultural significance of Shakespeare, came over time to occupy a marginal, often maligned position within English theatre. The introduction establishes its critical-creative methodology: I approach the question not only as a critic, but as a practitioner exploring what T. S. Eliot called ‘the possibility of a poetic drama’ in the modern world. The first chapter demonstrates how verse dramatists over the last thirty years have been inhibited by continuous comparison to Shakespeare. The remainder of the thesis argues more b
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9

Kingston, Talya Anne. "The dramaturgy of dialect an examination of the sociolinguistic problems faced when producing contemporary British plays in the United States /." Connect to this title online, 2008. http://scholarworks.umass.edu/theses/105/.

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Newman, Harry Rex. "Impressive Shakespeare : sexual identity and impressing technologies in Shakespearean drama." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3858/.

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This thesis examines the relationship between the sexual formation of identity and three ‘impressing technologies’ (sealing, coining and printing) in Shakespearean drama. In a number of plays, Shakespeare uses the ‘language of impression’ to create metaphors that analogise sexual activities such as kissing, defloration and impregnation with acts of imprinting. In doing so, I argue, he establishes a rhetorical nexus that contributes to the construction of his characters’ sexual identities. Following a chapter on relevant historical contexts, each chapter close reads a single Shakespeare play, f
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Libros sobre el tema "English drama English drama Theater Theater Magic in literature"

1

Shakespeare, William. A midsummer night's dream: A facing-pages translation into contemporary English. Lorenz Educational Publishers, 1995.

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2

Drama and religion in English provincial society, 1485-1660. Cambridge University Press, 2008.

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3

1952-, Womack Peter, ed. English drama: A cultural history. Blackwell Publishers, 1996.

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4

Inwardness and theater in the English Renaissance. University of Chicago Press, 1995.

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5

Duque, Pedro J. Spanish and English religious drama. Edition Reichenberger, 1993.

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6

Working subjects in early modern English drama. Ashgate, 2010.

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7

Howe, Elizabeth. The first English actresses: Women and drama, 1660-1700. Cambridge University Press, 1992.

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8

Yancey, Diane. Life in the Elizabethan theater. Lucent Books, 1997.

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9

Romantic drama: Acting and reacting. Cambridge University Press, 2009.

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10

Reinelt, Janelle G. After Brecht: British epic theater. University of Michigan Press, 1994.

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Capítulos de libros sobre el tema "English drama English drama Theater Theater Magic in literature"

1

Meyler, Bernadette. "Introduction Theaters of Pardoning." In Theaters of Pardoning. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739330.003.0001.

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The introduction draws on theories of genre and existing work in early modern law and literature to define the attributes and explain the significance of theaters of pardoning. Demonstrating the surprisingly significant number of seventeenth-century English plays that end with pardons, the introduction identifies these forms of tragicomedy as theaters of pardoning. It also emphasizes how the historical interrelations among the institutions and actors of law, drama, and politics in seventeenth-century England brought conceptions of pardoning from theater to law court to palace and back.
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2

Taylor, David Francis. "The Tempest; or, The Disenchanted Island." In The Politics of Parody. Yale University Press, 2018. http://dx.doi.org/10.12987/yale/9780300223750.003.0003.

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This chapter focuses on William Shakespeare's The Tempest as political theater, a play that is not a particular favorite with eighteenth-century graphic satirists. In their 1667 adaptation The Tempest, or The Enchanted Island, John Dryden and William Davenant took up Shakespeare's drama as a performative laboratory for their post-interregnum exploration of patriarchal power, casting Prospero as a father-king and Caliban and company as parodic, stridently plebeian figurations of the 1640s parliamentarians. Ultimately, the political appeal of The Tempest resides largely in its dramatic elaboration of “islandness.” As Kathleen Wilson argues, the trope of the island—although long powerful in imaginary literature and material policies—began to serve not only as metaphor but also as explanation for English dominance and superiority in arts and arms.
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