Bibliografías temáticas / Poetics of drama

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Literatura académica sobre el tema "Poetics of drama"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 2 de febrero de 2022

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Artículos de revistas sobre el tema "Poetics of drama"

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Žmak, Jasna. "Linguistics, poetics, theater and drama". Zbornik Akademije umetnosti, n.º 7 (2019): 147–57. http://dx.doi.org/10.5937/zbakum1907147z.

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Mazur, Piotr Stanislaw. "Human Drama in Aristotle’s Poetics". Roczniki Humanistyczne 68, n.º 3 (7 de febrero de 2020): 57–69. http://dx.doi.org/10.18290/rh20683-4.

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Ludzki dramat w Poetyce Arystotelesa Celem artykułu jest ukazanie dramatu jako wydarzenia ludzkiego w Poetyce Arystotelesa. Zdaniem autora, odwrócenie mechanizmu naśladownictwa (mimesis), używanego przez Arystotelesa do tworzenia tragedii, pozwala potraktować Poetykę przede wszystkim jako nośnik wiedzy o dramacie człowieka jako bohatera tragedii. Uczucia litości i trwogi, których powinna dostarczyć tragedia, ujawniają, co jest dramatem człowieka, a zarazem co sprawia, że człowiek może doświadczyć dramatu. Dramat ten wynika nie tylko z siły i nieuchronności zła, na które natrafia człowiek w swoim życiu, ale także jest następstwem jego niedoskonałości. Przejawia się ona w podatności człowieka na błąd, nietrwałości i niepewności jego sytuacji oraz podatności na egzystencjalne zranienie.
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Colley, Scott. "The Poetics of Jacobean Drama. Coburn Freer , Jacobean Drama". Modern Philology 82, n.º 4 (mayo de 1985): 422–24. http://dx.doi.org/10.1086/391412.

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Nirwana, Aditya. "Sekelumit tentang Risalah “Poetics”, karya Aristotle (384-322 SM)". KLAUSA (Kajian Linguistik, Pembelajaran Bahasa, dan Sastra) 2, n.º 01 (19 de marzo de 2019): 51–63. http://dx.doi.org/10.33479/klausa.v2i01.147.

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Poetics atau Puitika, merupaka karya Aristoteles yang menyajikan pokok-pokok pemikirannya tentang estetika, khususnya drama. Beberapa hal didalamnya meliputi bentuk plot dan perwatakan dalam drama, perumitan, perbedaan diantara beragam jenis puisi atau tragedi. Artikel ini bertujuan untuk merangkum dan memberikan sedikit ulasan terhadap pokok-pokok pemikiran Aristoteles di dalam Poetics, khususnya yang terkait dengan unsur-unsur Tragedi, yakni : 1) Alur/Plot; 2) Watak/Karakter dan Perwatakan; 3). Pemikiran (Tought); 4) Diksi; 5) Nyanyian dan Spectacle (Tontonan); dan 6) Tentang Nasib, Adegan Tragis, dan Kengerian. Dari pembacaan yang telah dilakukan, ditemukan bahwa Aristoteles mendefinisikan tragedi sebagai Mimesis Praxeos, "imitation of action". "Praxis" atau "Tindakan" dalam konteks ini sering dimaknai merujuk pada tindakan yang disengaja dalam keadaan rasional dan sadar. Hal ini memiliki konsep mimesis yang berbeda dangan mimesis dalam korpus Platon. Di samping itu, di dalam Poetics, nampak pemikiran Aristotle yang cenderung Formalistik, meskipun pada akhirnya bercorak fungsional, artinya apa yang sudah disampaikan Aristotle dalam Poetics mengenai Tragedi atau seni drama yang baik, bermuara pada sajian tontonan yang bermutu dan mendidik. Hal ini juga dapat dikatakan bahwa sajian drama yang baik menjadikan masyarakat memperoleh pengertian tentang keutamaan moral. Alih-alih formalistik, pemikiran Aristotle berujung pada fungsionalisme.
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Chodkowski, Robert R. "Aristotle’s Poetics versus Modern Theories of Drama". Roczniki Humanistyczne 66, n.º 3 SELECTED PAPERS IN ENGLISH (23 de octubre de 2019): 25–35. http://dx.doi.org/10.18290/rh.2018.66.3-2e.

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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 57 (2009), issue 3. This paper seeks to prove that there are no grounds in the Poetics to ascribe to Aristotle the views identified with the literary theory of drama because he does not identify drama with a verbal work. On the contrary, the spectacular dimension of tragedy is for Aristotle one of the distinctive feature of tragedy vis-à-vis epos, which for him is only – to use our modern terms—a literary work. Thus, the visual element (ὄψις or ὄψεως κόσμος) is not only very important for Aristotle, but it is even a necessary component of tragedy. Indeed there are some remarks in the Poetics that suggest tragedy may exist without ὄψις, but this is only regarded as a hypothetical situation, analogical to the one when he argues that tragedy may exist without characters. In fact, however, both ὄψις and characters are regarded by Aristotle as necessary components of tragedy. He makes his considerations assuming both components. At the same time, he treats tragedy not as a text but a theatrical work in which mimesis can be conducted by the “acting persons” (πράττοντες). They are understood not as literary figures, but as stage embodiments of the heroes whose psychophysical ontic paradigms are actors.
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Pikkanen, Ilona. "The metrics and poetics of historical drama". Orbis Litterarum 74, n.º 5 (11 de agosto de 2019): 311–39. http://dx.doi.org/10.1111/oli.12238.

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Kovpik, S. "Poetics peculiarities of the classical Chinese drama". Chinese Studies, n.º 1 (2021): 221–28. http://dx.doi.org/10.51198/chinesest2021.01.221.

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Bošnjak, Matija. "Elements of Dramatic Symbolism in the Poetics of Miodrag Žalica". Društvene i humanističke studije (Online) 6, n.º 3(16) (27 de julio de 2021): 43–58. http://dx.doi.org/10.51558/2490-3647.2021.6.3.43.

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In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.
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Dahlhaus, Carl. "What is a musical drama?" Cambridge Opera Journal 1, n.º 2 (julio de 1989): 95–111. http://dx.doi.org/10.1017/s0954586700002913.

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‘Dramaturgy’ is one of those vogue words to which frequent use lends the appearance of being increasingly well understood, whereas the wear and tear to which it is subjected actually makes it ever harder to understand. When a word has lost almost all meaning through overuse, the simplest way to make it usable again is, of course, to try to restore its original meaning. It should be possible to agree that dramaturgy is the composition of dramas tout court, and there can be no serious objection if that basic definition is understood to include the theories and principles of dramatic composition (as Lessing did in his Hamburgische Dramaturgie). In that sense ‘dramaturgy’ is to drama what ‘poetics’ is to poetry: it denotes the essential nature of the categories that form the basis of a drama and can be reconstructed in a dramatic theory.
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English, Mary C. y Gregory W. Dobrov. "Figures of Play: Greek Drama and Metafictional Poetics". Classical World 96, n.º 1 (2002): 109. http://dx.doi.org/10.2307/4352729.

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Tesis sobre el tema "Poetics of drama"

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Head, Andrew J. N. "Acting Beckett : towards a poetics of performance". Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:11214.

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Samuel Beckett’s writing stalks the progress of twentieth century art and culture. Seen as both symptomatic of the practices of high Modernism, as well as influential within the fragmented tropes of postmodernity, his drama is often referred to as exploring the limits of an incrementally reductive approach to performance in which fine margins – through time and space; sound and image – are used in the determination of an authentic rendering of his work. This study argues that it is the figure of the actor, in all its rich signifying complexity, which provides us with a lens through which we can evaluate Beckett’s work for theatre and other media. In considering the Beckettian actor, the study grounds a poetics of performance in a principally phenomenological discourse in which theatre history and popular culture throughout the twentieth century is seen as a key factor both in Beckett’s writing and theatre directing, as well as in the often contested development of the actor’s craft. Throughout, it is the theme of music and musicality that provides the actor with a starting point, or modus vivendi, in which the individual self or personality of the actor is valorized alongside other practices based on acquired technique and its application. This study does not propose instruction or a range of techniques for the actor to pursue in furthering their understanding of Beckett’s canon. Instead, this work establishes an understanding of the Beckettian actor in which strategies of implication, born out of sometimes paradoxical representations of silence, absence and abstraction, subordinate acting pedagogies based on programmed curricula. This examination of an implied actor illustrates the various ways in which notable, as well as relatively unknown, actors have sought to reconcile some of these issues. In doing so, the study also interrogates my own creative practice as a director and performer of Beckett’s drama over a fifteen-year period.
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2

Shalaby, Mahmoud Moustafa. "Politics and poetics in the drama of Salāḥ 'Abd al-Sabūr and Wole Soyinka". Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/7788.

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The originality of this study stems primarily from its comparative nature, with its substantive focus on the Egyptian playwright Salāḥ 'Abd al-Sabūr who wrote in Arabic and the Nigerian dramatist, Wole Soyinka (1934), writing in English. It thus attempts to address a gap in comparative research which has so far been largely confined to comparative studies of either Western writers and African counterparts or Western writers and Arab counterparts, but rarely combined Arab and African writers. This thesis investigates selected dramatic works of the two playwrights seeking to reveal the various manifestations of poetics and politics in their drama. The aim is to find the theatrical connection between the two dramatists, a connection that could shed more light on the aesthetics of their drama and the sources of influence on them. My main concern has been, firstly, to explore Nietzsche’s influence on their drama; secondly, to analyse the dynamic relationship between their dramatic content and the local cultural and political environment of Egypt and Nigeria; and thirdly, to examine the use of history as a means of addressing contemporary issues. The first chapter is a discussion of Soyink ’s The Bacchae of Euripides. It investigates the impact of Nietzsche’s ideas, particularly those voiced in The Birth of Tragedy (1872), on Soyink ’s critic and dramatic perspectives. In the second chapter 'Abd al-Sabūr' Night Traveller is discussed. In this chapter I attempt to explore how the Egyptian playwright presente Nietzsche’s theological ideas in dramatic form. I also attempt to show how ʻAbd al-Sabūr adapted Nietzsche’s concepts to fit in with the aesthetics of modern drama in Egyptian culture. Chapter Three examines the use of religion in their drama. Religion features as an important source which afforded both ʻAbd al-Sabūr and Soyinka sufficient material for rituals, symbols, allusions, metaphors and language. In Chapter Four, the dramatists’ views and use of history is explored. The value of history and its intricate relationship to aesthetics in drama is discussed within the frame of modernism and in the light of Nietzsche’s controversial ideas of history. Chapter Five examines the interrelation between politics and poetics in the theatre of the two dramatists. It presents an attempt at a postcolonial reading of selected plays. Chapter Six explores the image, role and dilemma of the intellectual. The role assigned to this figure is important in understanding their view of theatre and its function in society. The thesis finally argues that both 'Abd al-Sabūr and Soyinka established a theatre that was based on syncretism of indigenous traditions and foreign influence. Their dramatic works tackle local issues in theatrical forms that are not necessarily indigenous. While ʻAbd al-Sabūr' drama was highly literary and its theatricality was not obviously compelling, Soyink ’s possessed theatrical elements that made their performance vividly interesting for audiences.
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Steggle, Matthew. "Aristopanes grandsons : the poetics of comedy and satire in the age of Jonson". Thesis, University of Oxford, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320684.

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Garrett, Yanis. "Offer, Accept, Block, Yield: the poetics of open scene additive improvisation". Faculty of Education and Social Work, 2006. http://hdl.handle.net/2123/1901.

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Master of Philosophy
This single case study examines the way that Johnstone’s (1981) Impro ‘Poetics’ are being used in the contemporary practice of Open Scene Additive Improvisation (OSAI). Johnstone’s Poetics have become a ubiquitous part of contemporary drama improvisation parlance, yet they have never themselves been the subject of any academic examination. This study attempts to fill that void by looking at their use in Open Scene Impro, the purest form of theatre improvisation (since OSAI relies on no structures other than the audience suggestion around which to improvise a ‘Scene’.) To do this, the research analysed seven OSAI Scenes performed by 3 undergraduate student improvisers at the University of Sydney in July 2003, and looked at the ways in which the actions that Johnstone’s Poetics describe are actually being used. Looking closely at Scene segments, the study identifies a number of features: the ways that Offers are used to initiate, re-initiate, confirm or redirect meaning across five identified fields; the ways that Accepts temper these meanings; the productive use of Blocking in a Scene; and many other functions. It was also found that in-Scene negotiations about definition of situation became a subtextually enmeshed part of the Scene’s meaning (often in Phases of improvisers’ conflicting Endowments), while the predictive and framing control of narrative-indexing Offers ensured that character roles became defined early on in all Scenes. Overall, the study’s analysis dissects each of the Poetics to show that improvisers use them for a number of major purposes crucial for the reality, forward-movement and coherence of a Scene to obtain. The study concludes by elucidating how the nine main Poetics (Offer, Endow, Justify, Advance, Extend, Reincorporate, Accept, Block and Yield) serve these purposes. These purposes are then abstracted into the TOE Model, which in turn forms the basis of a proposed dynamic and holistic model for understanding OSAI at each moment of its (re-)creation. The ultimate aim, beyond the reach of the present study, is to be able to understand an Open Scene’s every moment, and each moment’s reference historically backwards, and, to some degree, predictively forwards in time. To this end, the fundamental dynamic of contextualised giving and receiving in OSAI is morphed into a Taoist energetic model, a “Tao of Impro”, along with the notion, derived from Mandelbrot, of ‘cybernetic semantic iteration’, by which information seems to get processed in Open Scenes. The educational implications of these models are then sketched, and future directions for research in OSAI pointed to.
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5

Wenge, Matt. "Fearlessness the seventh element of drama". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5082.

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Aristotle proclaimed in his Poetics that there were six elements to drama: spectacle, music, diction, thought, character, and plot. This paper will analyze the play Thom Pain (based on nothing) against these six elements. I will discuss the aspects of each element that are present in the show as well as the ideas and concepts my director, Tad Ingram, and I brought to the show. Through the rehearsal and performance process I discovered a seventh element; the element of fearlessness. In his Poetics, Aristotle does not fully address what the actor brings to the performance and this aspect is just as important as what the script and staging bring to the performance.
ID: 029810021; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 50).
M.F.A.
Masters
Theatre
Arts and Humanities
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Grandcamp, Gabrielle. "Enjeux de mise en scène dans les "Miracles de Nostre Dame par personnages"". Thesis, Normandie, 2017. http://www.theses.fr/2017NORMLH23/document.

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Les quarante "Miracles de Nostre Dame par personnages" constituent l'immense majorité du corpus dramatique de langue française du XIVe siècle. Malgré cette importance historique majeure, ces pièces n'ont jusqu'à aujourd'hui pas fait l'objet d'une étude littéraire spécifique. Victimes du manque de légitimité poétique que l'on prête au théâtre médiéval en général, mais aussi tributaires de leur apparente simplicité, ces drames présentent pourtant de nombreuses similarités qui témoignent de l'homogénéité stylistique du corpus. Envisageant tour à tour le corpus en tant que texte, spectacle et livre, le présent travail vise donc à rendre raison de sa concertation dramaturgique. L'étude se donne d'abord pour objet de repérer les lois implicites du recueil : tandis qu'une analyse en synchronie permet de dégager les lois structurelles et discursives du corpus, une étude en diachronie permet de comprendre ses lois de composition, élaborées au fil du temps et des expériences scéniques. C'est finalement dans le dialogue incessant entre la scène et les spectateurs que s'élabore la spécificité du Miracle dramatique, dont la dramaturgie propose une approche singulièrement subtile de son public. Cette relation étroite entre la scène et les spectateurs se poursuit lors du passage des pièces de l'espace scénique à l'espace du livre. Mises en drame, en scène et en texte, ces quarante histoires miraculeuses offrent finalement l'évidence de la profonde cohérence de leurs transpositions successives. Témoignages de la vocation éducative des confréries, elles s'avèrent être de riches et étonnants objets de théâtre, dont la portée esthétique ne s'est pas tout à fait éteinte
The forty "Miracles de Nostre Dame par personnages" stand for the immense majority of the dramatic French-language corpus of the fourteenth century. Despite this major historical importance, these plays have not been the subject of a specific literary study. Despised for the lack of poetic legitimacy attributed to medieval theater in general and for their apparent simplicity, these dramas present many similarities which show the evidence of the stylistic homogeneity of the corpus. Considering in turns the corpus as a text, a show and a book, this work aims to reveal the dramaturgical project behind the plays. First of all, this study intends to identify the implicit laws of the collection. A synchronic analysis allows to identify the structural and discursive laws of the corpus, while a diachronic study reveal its laws of composition, created by succesives scenic experiences. Finally, the specificity of the dramatic Miracle appears to be based on this constant dialogue between the stage and its audience. This close relationship continues as the pieces move from the stage space to the book space. Dramas, stagings and texts, these forty miraculous stories offer the evidence of the deep coherence of their successive transpositions. As these plays are proofs of the brotherhoods' educational vocation, they turn out to be amazing theater objects, whose aesthetic significance has not quite extinguished
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vom, Schemm A. (Axel). "Dichter am Ball:untersuchungen zur Poetik des Sports am Beispiel deutschsprachiger „Fußball-Literatur”". Doctoral thesis, University of Oulu, 2006. http://urn.fi/urn:isbn:9514283023.

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Abstract In view of numerous texts from completely different genres the study shows to what extent and degree of differentiation the topic soccer is covered in German-language literature and allows general conclusions on a poetics of sport. Here solely German-language literary sources are considered. The work is divided into a theoretical and a text-related part. In the former section the approaches to the topic – on one hand via German studies and on the other hand via interdisciplinary sport science – is made clear by means of basic considerations on the questions “what is literature?” and “what is sport”. In addition, a revisable basis for the subsequent studies is provided. The text-related part – in turn subdivided according to the three main genres lyric poetry, epic poetry and drama – shows how exactly soccer appears as literary subject. Formal differences induced by the form of presentation within a genre (sonnet vs. visual poetry) or across genres (detective story vs. modern drama) take effect as well as context-related variations of the subject (soccer as symbolic carrier of meaning vs. soccer as vehicle for transporting ethical values). A concluding chapter each on the realization of the sport models introduced in the theoretical part in literary practice follow the individual genre areas. The various aspects that can be attributed to a poetics of sport conclude the study in a summarizing part. Not least here the comprehensiveness of the findings can be seen
Abstract Die Untersuchung zeigt mit Blick auf zahlreiche Texte ganz unterschiedlicher Gattungen, in welchem Umfang und wie differenziert das Thema Fußball in der deutschen Literatur behandelt wird und lässt damit allgemeine Rückschlüsse auf eine Poetik des Sports zu. Betrachtet werden hier ausschließlich deutschsprachige, literarische Quellen. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im erstgenannten Abschnitt wird durch grundsätzliche Überlegungen zu den Fragen „Was ist Literatur? ” und „Was ist Sport? ” der einerseits germanistische, andererseits interdisziplinäre sportwissenschaftliche Zugang zum Thema verdeutlicht. Zudem ist hier eine überprüfbare Basis für die anschließenden Untersuchungen geschaffen. Der textbezogene Teil – wiederum untergliedert nach den drei Hauptgattungen Lyrik, Epik und Drama – zeigt, wie Fußball genau als literarisches Motiv erscheint. Formale Unterschiede bedingt durch die Darstellungsform innerhalb einer Gattung (Sonett vs. Visuelle Poesie) oder grenzüberschreitend (Kriminalroman vs. Modernes Drama) kommenden dabei ebenso zum Tragen wie inhaltliche Variationen des Motivs (Fußball als symbolischer Bedeutungsträger vs. Fußball als Vehikel zur Vermittlung ethischer Werte). Je ein resümierendes Kapitel über die Umsetzung der im theoretischen Teil eingeführten Sportmodelle in der literarischen Praxis schließt sich an die einzelnen Gattungsbereiche an. Die verschiedenen Aspekte, die sich einer Poetik des Sports zuschreiben lassen, schließen die Studie in einem zusammenfassenden Teil ab. Nicht zuletzt hier zeigt sich die Reichhaltigkeit der Untersuchungsergebnisse
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Miroslav, Radonjić. "Dramski opus Vide Ognjenović u kontekstu savremene srpske dramaturgije i književne tradicije". Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2015. http://www.cris.uns.ac.rs/record.jsf?recordId=94108&source=NDLTD&language=en.

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Намера студије јесте да се целокупни досадашњи драмски опус Виде Огњеновићсагледа у ширем контексту савремене српске драматургије и књижевне традиције. Овакавзадатак подразумева анализу примењеног литерарно-драматуршког поступка, тематско-мотивских одредница, жанровских и стилских особености, језичког израза,карактеризације ликова, односа према историјским, политичким, идеолошким, културним,социјалним и другим друштвеним феноменима. За реализацију тако дефинисаног циљаистраживања, било је неопходно формирати својеврсни координатни систем. Унутарсистема једна оса представља најзначајније ауторе и њихова репрезентативна дела, који сукључни за развој савремене српске драме од Другог светског рата до прве деценије овогвека, а друга оса означава књижевну традицију као недвосмислену исходишну тачку икреативну инспирацију. Рад је подељен у три органски повезане целине: „Савременасрпска драма”, „Драмски опус Виде Огњеновић” и „Књижевна традиција као креативнаинспирација
Namera studije jeste da se celokupni dosadašnji dramski opus Vide Ognjenovićsagleda u širem kontekstu savremene srpske dramaturgije i književne tradicije. Ovakavzadatak podrazumeva analizu primenjenog literarno-dramaturškog postupka, tematsko-motivskih odrednica, žanrovskih i stilskih osobenosti, jezičkog izraza,karakterizacije likova, odnosa prema istorijskim, političkim, ideološkim, kulturnim,socijalnim i drugim društvenim fenomenima. Za realizaciju tako definisanog ciljaistraživanja, bilo je neophodno formirati svojevrsni koordinatni sistem. Unutarsistema jedna osa predstavlja najznačajnije autore i njihova reprezentativna dela, koji suključni za razvoj savremene srpske drame od Drugog svetskog rata do prve decenije ovogveka, a druga osa označava književnu tradiciju kao nedvosmislenu ishodišnu tačku ikreativnu inspiraciju. Rad je podeljen u tri organski povezane celine: „Savremenasrpska drama”, „Dramski opus Vide Ognjenović” i „Književna tradicija kao kreativnainspiracija
This study is aimed at offering an overview of the entire dramatic oeuvre of VidaOgnjenović to date within the wider context of the contemporary Serbian dramaturgy and literarytradition. This objective entails an analysis of the literary-dramatic procedure used, as well as thethematic-motif determinants, distinctive features in regard to genre and style, linguisticexpression, characterisation, attitude towards historical, political, ideological, cultural, social andother societal phenomena. In order to accomplish the objective of research thus formulated, itwas necessary to form a singular coordinate system. One coordinate axis represents majorauthors and their representative works, which bear crucial significance for the development ofthe contemporary Serbian drama from World War II to the first decade of this century, while theother axis represents literary tradition as an unambiguous point of origin and creative inspiration.The study is divided into three organically related units: ‘Contemporary Serbian drama’,‘Dramatic oeuvre of Vida Ognjenović’ and ‘Literary tradition as creative inspiration’.
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Padovani, Delphine. "Le théâtre du monde chez les auteurs dramatiques contemporains francophones. Valère Novarina, Pierre Guyotat, Didier-Georges Gabily, Olivier Py, Joël Pommerat, Daniel Danis". Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30029/document.

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Cette thèse porte sur les caractéristiques du théâtre du monde telles qu’elles se manifestent dans différentes œuvres dramatiques contemporaines francophones. Il s’agit d’envisager sept pièces de ce répertoire comme autant d’images du monde, dans la mesure où elles convoquent les emblèmes de la vie terrestre : humaine, animale, végétale, et problématisent leurs interactions dans un espace-temps universel. Dans une partie introductive, on rassemble et commente les principales contributions universitaires à la réflexion sur la notion historique de théâtre du monde. Dans la partie principale, on observe les prolongements contemporains de la métaphore à travers l’étude des pièces du corpus. Une présentation générale des moteurs et motifs d’écriture des dramaturges introduit chaque analyse de texte, basée sur une grille de lecture calquée sur les catégories constitutives du drame : personnages, espace et temps, actions, didascalies. Le corps de la thèse est ainsi conçu comme l’exploration de sept déclinaisons du théâtre du monde, partant de la représentation la plus abstraite pour aboutir à la plus organique. Une synthèse boucle ce parcours en soulignant que les pièces dépendent de trois modèles de composition, déterminant autant de combinaisons des catégories dramatiques. Cette classification dévoile enfin l’ambition qui génère chaque projet d’écriture. En conclusion, il apparaît que le théâtre du monde dont on s’accorde généralement à penser qu’il est un topos daté évoquant la théâtralité de la vie humaine, est un cadre générique assez fort pour résister à la poétique du drame contemporain, assez vaste pour accueillir les inventions dramaturgiques les plus singulières
This thesis deals with the characteristics of the theatre of the world metaphor, as they appear in several contemporary french-speaking plays. Seven plays have been selected as images of the world, since they summon various emblematic elements of life on earth: humans, animals and flora, and emphasize their interaction in a universal surroundings. Firstly, the principal academic contributions concerning the historical notion of theatre of the world are gathered and commented. The main part of the research consists of the demonstration of the metaphor's contemporary extensions, through the study of the corpus. The analysis of each play is preceded by a presentation of its author's writing motivations and motives. Then, the play itself is examined carefully with the help of a reading grid which focuses successively on the dramatic categories : characters, space and time, actions, stage directions. Thus, the thesis's body is built as an exploration of seven variations of the theatre of the world, beginning with the most abstract one and leading to the most organic one. A synthesis ends this journey, pointing out that the plays match three composition patterns, which induces many combinations of the dramatic categories. This classification unveils the ambition at the origin of each writing project. In conclusion, it appears that the theatre of the world, generally considered as an old topos which refers to the theatrality of human life, is a framework strong enough to stand up to the poetics of comtemporary drama, and vast enough to house the most singular dramaturgic inventions
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Silveira, Isabela Fernanda Azevedo. "O lugar do espectador na dramaturgia de Armand Gatti: engajamento político, cooperação textual e performatividade". Escola de Teatro, 2011. http://repositorio.ufba.br/ri/handle/ri/27116.

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O objeto da dissertação é a poética do jornalista, poeta, escritor, diretor teatral, dramaturgo e cineasta Armand Gatti, tendo como critério norteador do presente trabalho sua atuação como dramaturgo. No universo de suas peças escritas e publicadas, me concentro naquelas que compõem o Pequeno manual de guerrilha urbana (1968), uma compilação de quatro peças curtas de temática política, escritas pelo autor durante e logo após os eventos de maio de 1968 na Europa. A partir das quatro peças que compõem o Pequeno Manual, comparo a produção gattiniana com a de dois outros autores, o alemão Bertolt Brecht e o brasileiro Augusto Boal, apresento uma amostra da produção dramatúrgica gattiniana - por meio da tradução integral do texto A máquina escavadora ou para entrar no plano de cerceamento da Colônia de Invasão Che Guevara - e demonstro os esforços do autor para prever a participação do espectador teatral desde o momento de escrita de seus textos. Através de suas teorias, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin e Umberto Eco são os principais autores que oferecem suporte para meu trabalho, em especial na análise das marcas paratextuais inscritas na escrita gattiniana e na relação de sua escrita dramatúrgica com a participação dos espectadores das encenações que dela resultam.
L'objet de ce travail est la poétique du journaliste, poète, écrivain, metteur en scène, dramaturge et cinéaste Armand Gatti. Les critères de orientation adoptés a cette étude sont son travail notamment aux textes théâtrales de cet artiste monégasque basée en France depuis 1924. Dans l'univers de ses écrits et pièces publiées je me concentre sur ceux qui composent Le Petit Manuel de Guérilla Urbaine (1968), une compilation de quatre pièces courtes de thème politique, écrites par l'auteur pendant et peu après les événements de mai 1968 en Europe. En utilisant les parties qui composent le Petit Manuel pour extraire un échantillon de la production de l’auteur, je compare ses oeuvres avec des deux autres hommes: l'allemand Bertolt Brecht et le brésilien Augusto Boal. Par ici je présent une traduction intégrale du texte La Machine Excavatrice – Pour entrer dans le plan de défrichement de la colone d'invasion Che Guevara afin de démontrer les efforts de l'auteur pour assurer la participation du spectateur à partir de la création de leurs textes. Par leurs théories, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin et Umberto Eco sont les principaux auteurs qui soutiennent mon travail, en particulier dans l'analyse des marques paratextuels de Gatti entrés par écrit et par rapport à leur dramaturgie.
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Libros sobre el tema "Poetics of drama"

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Print and the poetics of modern drama. Cambridge, UK: Cambridge University Press, 2005.

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Stapele, Peter van. Poetics of the screenplay as drama-text. Leiden: Leiden University, 2005.

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Figures of play: Greek drama and metafictional poetics. Oxford: Oxford University Press, 2001.

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Kintz, Linda. The subject's tragedy: Political poetics, feminist theory, and drama. Ann Arbor: University of Michigan Press, 1992.

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David, Clarke. Pierre Corneille: Poetics and political drama under Louis XIII. Cambridge [England]: Cambridge University Press, 1992.

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The poetics of Greek tragedy. London: Duckworth, 1987.

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The poetics of Greek tragedy. Stanford, Calif: Stanford University Press, 1987.

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Gupt, Bharat. Dramatic concepts Greek & Indian: A study of the Poetics and the Nāṭyaśāstra. New Delhi: D.K. Printworld, 1994.

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The poetics of plot: The case of English Renaissance drama. Minneapolis: University of Minnesota Press, 1985.

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Pavel, Thomas G. The poetics of plot: The case of English Renaissance drama. Manchester: Manchester University Press, 1985.

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Capítulos de libros sobre el tema "Poetics of drama"

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Gleckman, Jason. "Double Predestination in Early English Drama". En Shakespeare and Protestant Poetics, 53–69. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-32-9599-5_4.

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Vadillo, Ana Parejo. "Another Renaissance: The Decadent Poetic Drama of A. C. Swinburne and Michael Field". En Decadent Poetics, 116–40. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137348296_7.

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Matei-Chesnoiu, Monica. "Hydrography as Poetics: Rivers and Empires". En Geoparsing Early Modern English Drama, 81–110. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137469410_4.

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Lerud, Theodore K. "Medieval Aristotelianism and the Poetics of the English Corpus Christi Drama". En Memory, Images, and the English Corpus Christi Drama, 25–39. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613799_4.

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Reynolds, Bryan. "Transversal Poetics and Fugitive Explorations: Theaterspace, Paused Consciousness, Subjunctivity, and Macbeth". En Transversal Enterprises in the Drama of Shakespeare and his Contemporaries, 1–26. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230584570_1.

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Padial-Guerchoux, Anita. "Elemental Substances and their Drama in the Mayan Imagination as Perceived in Popol Vuh". En The Elemental Passions of the Soul Poetics of the Elements in the Human Condition: Part 3, 477–82. Dordrecht: Springer Netherlands, 1990. http://dx.doi.org/10.1007/978-94-009-2335-5_24.

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Leeming, Glenda. "Introduction: Poetic Drama and the Twentieth Century". En Poetic Drama, 1–22. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19860-3_1.

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Leeming, Glenda. "Yeats and the Development of his Theory and Practice". En Poetic Drama, 23–49. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19860-3_2.

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Leeming, Glenda. "Later Yeats: the Noh Plays and After". En Poetic Drama, 50–69. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19860-3_3.

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Leeming, Glenda. "Eliot: ‘Murder in the Cathedral’ and its Predecessors". En Poetic Drama, 70–101. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-19860-3_4.

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Actas de conferencias sobre el tema "Poetics of drama"

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Wang, Limin y Xinghua Wang. "A Research Review of Yuan Poetic Drama". En Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.187.

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Кириллина, Мария Афанасьевна. "POET'S DRAMA AS A GENRE FORMATION (on the example of poetry dramas by I.M. Gogolev)". En Народы и культуры Северной Азии в контексте научного наследия Г.М. Василевич. Якутск: Институт гуманитарных исследований и проблем малочисленных народов Севера Сибирского отделения РАН, 2020. http://dx.doi.org/10.25693/vasilevich.2020.064.

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