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Littérature scientifique sur le sujet « English English drama Bible plays »

Auteur : Grafiati
Publié le 4 juin 2021
Mis à jour le 1 février 2022

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Articles de revues sur le sujet "English English drama Bible plays"

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Kothari, Saroj. « EFFECTS OF DANCE AND MUSIC THERAPY ». International Journal of Research -GRANTHAALAYAH 3, no 1SE (31 janvier 2015) : 1–8. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3389.

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Arts have consistently been part of life as well as healing throughout the history of humankind. Today, expressive therapies have an increasingly recognized role in mental health, rehabilitation and medicine. The expressive therapies are defined as the use of art, music, dance/movement drama, poetry/creative writing, play and sand play within the context of psychotherapy, counseling, rehabilitation or health care.Through the centuries, the healing nature of these expressive therapies has been primarily reported in anecdotes that describe a way of restoring wholeness to a person struggling with either mind or body illness. The Egyptians are reported to have encouraged people with mental illness to engage in artistic activity (Fleshman & Fryrear, 1981); the Greeks used drama and music for its reparative properties (Gladding, 1992); and the story of King Saul in the Bible describes music’s calming attributes. Later, in Europe during the Renaissance, English physician and writer Robert Burton theorized that imagination played a role in health and well-being, while Italian philosopher de feltre proposed that dance and Play was central to children’s healthy growth and development (Coughlin, 1990).
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Brantley, Jessica. « Middle English Drama Beyond the Cycle Plays ». Literature Compass 10, no 4 (19 mars 2013) : 331–42. http://dx.doi.org/10.1111/lic3.12056.

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Masoumi-Moghaddam, Saman. « Using Drama and Drama Techniques to Teach English Conversations to English as A Foreign Language Learners ». International Journal of Applied Linguistics and English Literature 7, no 6 (1 novembre 2018) : 63. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.6p.63.

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The present study aimed to examine the ways in which drama and drama techniques and practices, as implemented in the English language classes and combined with pedagogical practices to teach and learn English conversation, can create the appropriate conditions that promote learning environments conducive for learning English conversations. The participants of this study were thirty undergraduate male and female students who had studied English at the secondary and high school levels at the public schools in Ardebil. They were classified into two groups including Control and Experimental groups. The two groups were administered a Test-Retest evaluation to measure the targeted language skills that was to be taught to them. In order to collect the necessary data, two modern plays were taught and rehearsed in classroom context and then a retest were administered after the practice of these two modern dramatic discourse in the classroom. The different data-collecting techniques were used for the current research were participant observation (direct and indirect), and interviews. After analysing the data the results showed that there was no significant improvement in English competence of the Control group but the Experimental group revealed a tremendous achievement in their abilities in English conversations through the use of dramatic discourse.
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Dayal, Dr Ashok. « Social Hypocrisies in Vijay Tendulkar’s The Vultures ». International Journal for Research in Applied Science and Engineering Technology 9, no 9 (30 septembre 2021) : 618–21. http://dx.doi.org/10.22214/ijraset.2021.38028.

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Abstract: Early plays in India were written in Bengali by Bengali writers which were mostly translated into English from Bengali in the 19th century. But drama in English failed to serve a local theatrical habitation, in sharp contrast to plays in the mother tongue (both original and in the form of adaptations from foreign languages); and the appetite for plays in English could more conveniently be fed on performances of established dramatic successes in English by foreign authors. Owing to the lack of a firm dramatic tradition nourished on actual performance in a live theatre, early Indian English drama in Bengal as elsewhere in India grew sporadically as mostly closet drama; and even later, only Sri Aurobindo, Ravindranath Tagore and Harindranath Chattopadhyaya produced a substantial corpus of dramatic writing. Between 1891 and 1916 Sri Aurobindo wrote five complete and six incomplete verse plays. Keywords: exploitation, sexual violence, homosexual, individuall degradation, consciousness, hypocrisies
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Meredith, Peter. « The direct and indirect use of the Bible in Medieval English drama ». Bulletin of the John Rylands Library 77, no 3 (septembre 1995) : 61–78. http://dx.doi.org/10.7227/bjrl.77.3.6.

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Davies, Paul. « The Use of Drama in English Language Teaching ». TESL Canada Journal 8, no 1 (26 octobre 1990) : 87. http://dx.doi.org/10.18806/tesl.v8i1.581.

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This essay aims to examine the use of drama and dramatic activities in English Language Teaching CELT). Its opening part looks at some of the theories behind the use of drama with learners of English, and tries to answer questions such as what is drama, who needs it, and when should it be used. The essay then takes a look at some practical procedural strategies such as lesson preparation, students' language needs, how to present and integrate drama into the lesson, and overall classroom organization. The next section tackles the question of how dramatic activities can be employed in the language classroom. The possibilities considered include mime, simulation, role-play, scripted plays, improvisation, and coursebook dialogue. Some concluding remarks finish off the main body of the essay.
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Jackson, Lucy. « Proximate Translation : George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama ». Translation and Literature 29, no 1 (mars 2020) : 85–100. http://dx.doi.org/10.3366/tal.2020.0410.

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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's and Buchanan's plays reveal the potential for Greek tragedy to shape early modern drama, but also for early modern drama to shape how Greek tragedy itself was read and received in early modern England.
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Moghadam, Saman M., et Reza Ghafarsamar. « Using Drama and Drama Techniques to Teach English Conversations to EFL Learners ». Global Journal of Foreign Language Teaching 8, no 2 (29 mai 2018) : 92–101. http://dx.doi.org/10.18844/gjflt.v8i2.3319.

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The present study aimed to examine the ways in which drama and drama techniques and practices, as implemented in the English language classes and combined with pedagogical practices to teach and learn English conversation, can create the appropriate conditions that promote learning environments conducive for learning English conversations. The participants of this study were thirty undergraduate male and female students who had studied English at the secondary and high school levels at the public schools in Ardebil. They were classified into two groups including Control and Experimental groups. The two groups were administered a Test-Retest evaluation to measure the targeted language skills that was to be taught to them. In order to collect the necessary data, two modern plays were taught and rehearsed in classroom context and then a retest were administered after the practice of these two modern dramatic discourse in the classroom. The different data-collecting techniques were used for the current research were participant observation (direct and indirect), and interviews. After analysing the data the results showed that there was no significant improvement in English competence of the Control group but the Experimental group revealed a tremendous achievement in their abilities in English conversations through the use of dramatic discourse.
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Fastrup, Anne. « Handelsorientalisme i engelsk drama 1580-1630 ». K&K - Kultur og Klasse 45, no 124 (31 décembre 2017) : 89–110. http://dx.doi.org/10.7146/kok.v45i124.103798.

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The early modern Turco-Barbary plays of Christopher Marlowe, Robert Daborne and Philippe Massinger bear witness to how deeply England’s expanding trade with the Muslim Ottoman Empire affected English literature. Within few decades, a new catalogue of dramatis personae such as Turcs, Barbary pirates, English sailors who had converted into Islam, Jewish merchants and go-betweens, began to appear on the scenes of London’s commercial theatres. The purpose of this article is to discuss the particular mercantile character of this renaissance orientalism. Through the demonstration of how the theatrical representation of the encounter with the Muslim world was based on a moral suspiciousness or scepticism toward the merchant whose commerce depended upon foreign markets in goods and money, this article attempts to understand why conversion to Islam and cross-cultural movement becomes such a prominent feature in the English Turco-Barbary plays.
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Chansky, Dorothy. « American Higher Education and Dramatic Literature in(to) English ». Theatre Survey 54, no 3 (29 août 2013) : 419–38. http://dx.doi.org/10.1017/s0040557413000288.

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In 2011 and 2012, I undertook a two-part survey to answer some large questions about the use of plays in translation in the higher education drama classroom in Anglophone North America and to test my ideas regarding the simultaneous ubiquity and invisibility of translation there. My project here is to report on that survey and to make clear why translation studies is ready to take a prominent role in theatre studies. U.S. colleges and universities constitute one of the largest single markets in the world for drama translated into English. Most U.S. theatre history classes include plays from the world canon, and many specialized classes in theatre departments focus on plays from non-Anglophone cultures. In English departments, where other genres in translation (e.g., the novel) may be approached with caution, drama seems to be offered a “pass” because the notion of being dramaturgically literate depends on some knowledge of a sizable canon of non-Anglophone plays. Yet despite its ubiquity, translation is often so normalized as to be invisible to those who depend on it. As Laurence Senelick notes, “For most students, a work exists wholly in its translated form, spontaneously generated.” Translation, as the survey confirmed, is part of the DNA of theatre studies. As such, I argue, it needs to be brought to the foreground of the field. In saying this, I am not unaware of the rich work undertaken by scholars, editors, and practitioners who are enmeshed in the difficult issues involved with translating plays, which include pressing for greater attention to cultural sensitivity and literacy. My focus here is on the academy and the classroom, where, for better or worse, the vast majority of future dramaturgs and audience members will cut their teeth on a critical mass of plays and where no single language or production entity or publisher can claim pride of place.
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Thèses sur le sujet "English English drama Bible plays"

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Pfeiffer, Kerstin. « Passionate encounters : emotion in early English Biblical drama ». Thesis, University of Stirling, 2011. http://hdl.handle.net/1893/3575.

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This thesis seeks to investigate the ways in which late medieval English drama produces and theorises emotions, in order to engage with the complex nexus of ideas about the links between sensation, emotion, and cognition in contemporary philosophical and theologial thought. It contributes to broader considerations of the cultural work that religious drama performed in fifteenth- and early sixteenth-century England in the context of the ongoing debates concerning its theological and social relevance. Drawing on recent research in the cognitive sciences and the history of emotion, this thesis conceives of dramatic performances as passionate encounters between actors and audiences – encounters which do not only re-create biblical history as a sensual reality, but in which emotion becomes attached to signs and bodies through theatrical means. It suggests that the attention paid to the processes through which audiences become emotionally invested in a play challenges assumptions about biblical drama of the English towns as a negligible contribution to philosophical and theological thinking in the vernacular. The analysis is conducted against the background of medieval and modern conceptions of emotions as ethically and morally relevant phenomena at the intersection between body and reason, which is outlined in chapter one. Each of the four main chapters presents a detailed examination of a series of pageants or plays drawn mainly from the Chester and York cycles and the Towneley and N-Town collections. These are supplemented, on occasion, with analysis of individual plays from fragmentary cycles and collections. The examinations undertaken are placed against the devotional and intellectual backdrop of late medieval England, in order to demonstrate how dramatic performances of biblical subject matter engage with some of the central issues in the wider debate about the human body, soul, and intellect. The second chapter focuses on the creation of living images on the stage, and specifically on didactically relevant stage images, in the Towneley Processus Prophetarum, the Chester Moses and the Law, and the N-Town Moses. The third chapter shifts the focus to the performance of the Passion in the N-Town second Passion play and the York Crucifixio Christi, concentrating on the potential effects of the perception of physical violence on audience response. The subject of chapter four is the emotional behaviours and expressions accorded to the Virgin Mary in the Towneley and N-Town Crucifixion scenes, and those of her precursors, the mothers of the innocents, in the Digby and Coventry plays of the Massacre of the Inncocents. In chapter five, the analysis finally turns to dramatisations of the Resurrection, examining its realisation on stage in the Chester Skinners’ play, as well as staged responses to the event by the apostles and the Marys in the N-Town The Announcement to the Three Marys; Peter and John at the Sepulchre and the Towneley Thomas of India. These four central chapters pave the way for a summary, in the conclusion, of the central problematic underpinning this thesis: how the evocation of emotion in an audience is linked to embodiment in theatrical performance, and tied to a certain awareness, on the part of playwrights, of the popular biblical drama’s potential as a locus of philosophical-theological debate.
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Turner, Irene. « Farce on the borderline with special reference to plays by Oscar Wilde, Joe Orton and Tom Stoppard ». [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12367898.

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Forest-Hill, Lynn Elizabeth. « Transgressive language in medieval English drama : signs of challenge and change ». Thesis, University of Southampton, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242389.

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Mukherji, Subha. « Issues of evidence, interpretation and judgement in Renaissance English drama, c. 1580-1640 ». Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275396.

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Beauchamp, Pauline. « The Corpus Christi plays as dramatizations of ritual : an examination of the decline of the medieval theatre ». Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63121.

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Grochala, Sarah Louise. « Seriousness, structure and the dramaturgy of social life : the politics of dramatic structure in contemporary British playwriting 1997-2011 ». Thesis, Queen Mary, University of London, 2011. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8620.

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Contemporary British plays are commonly thought of as political if they address an issue that is already seen as political (Kritzer, 2008). This thesis explores the idea that the political stance of a play is articulated at the level of its structure, as well as in its content. Contemporary playwriting practices in British theatre are dominated by ‘serious drama’. Serious drama yokes together politics, dialectical structure and a realist dramaturgy and the resultant form is held up as an ideal against which the political efficacy of a play can be judged. Through an application of the concept of the ideology of form (Jameson, 1981), this thesis re-reads the structures of serious drama in terms of how they reflect the social and economic structures of post- Fordism in their representation of spatio-temporal structures, causation in the dramatic narrative and their imagining of the social subject. Through this reading, this thesis problematises serious drama’s claim to a progressive socialist politics. In contrast, the experimental dramaturgies of a range of contemporary British plays (1997-2011) are read as mediating, negotiating and critiquing the social and economic structures of post-Fordism through their dramatic structure, and so articulating a potentially radical politics. Caryl Churchill’s Heart’s Desire (1997), David Eldridge’s Incomplete and Random Acts of Kindness (2005) and David Greig’s San Diego (2003) are read as negotiating the effects of spatio-temporal compression (Harvey, 1990). Mike Bartlett’s Contractions (2008), debbie tucker green’s Generations (2007) and Rupert Goold and Ben Power’s adaptation of Pirandello’s Six Characters in Search of an Author are analysed in terms of their causal structures (Althusser, 1970). Finally Anthony Neilson’s Realism (2006), Simon Stephens’s Pornography (2007) and Mark Ravenhill’s Shoot/Get Treasure/Repeat (2008) are investigated for the ways in which they re-imagine the social subject through subjective, narrative, unassigned and collective modes of characterisation.
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Turner, Irene. « Farce on the borderline with special reference to plays by OscarWilde, Joe Orton and Tom Stoppard ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1987. http://hub.hku.hk/bib/B31949204.

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Richardson, C. « The medieval English and French Shepherds plays : A comparative study of the dramatic tradition ». Thesis, University of York, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381317.

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Wiedemann, Hunt Margaret. « 'The dogma is the drama' : participation and sacramentality in the plays of Dorothy L. Sayers ». Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/39530/.

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Dorothy L. Sayers’s first festival play, The Zeal of Thy House (1937), was written at a time when it was widely believed among Christian drama practitioners that drama itself has a sacramental significance. This conviction took on a new urgency for Sayers as theologians and church people sought ways of establishing Christianity as a basis on which to rebuild society after the Second World War. Sayers’s The Mind of the Maker (1941), a study in theological aesthetics intended as a contribution to public debate about post-war reconstruction, outlined a trinitarian and sacramental model for human work considered as a creative activity. Sayers wrote three more festival plays between 1939 and 1951, and this study examines the four plays in the light of her sacramental emphasis. It locates Sayers’s dramatic practice in the context of those Roman and Anglo-Catholic practitioners of the arts who embraced the neo-Thomism of the French philosopher Jacques Maritain, and examines the influence of William Temple and his belief in the sacramentality of the whole material creation. The study argues that while the festival plays have the background of timeless sacramentality noted by a number of commentators, Sayers takes sacramentalism further in all four plays with the onstage enactment of a timebound sacramental event in which the protagonist, estranged from God by an imbalance in the dynamic trinitarian flow within his creative self, experiences anagnorisis, repentance and the hope of restoration to the community of believers. This sacramental enactment becomes a model for the audience’s participative reception of the play itself, and the study uses insights from contemporary theorists of medieval drama to elucidate the nature of the dramatic experience in which theatre and sacrament become reciprocally paradigmatic. The belief that art and theology can critique each other was central to Sayers’s approach to dramatising the gospels in her wartime BBC radio life of Christ, The Man Born to be King, and a chapter on this play examines its participatory hermeneutics as an extension of the sacramentality of the stage plays. A final section locates Sayers’s concept of the ‘passionate intellect’ in relation to the mid-century theological tension between faith and reason. Few commentators have given Sayers’s four plays equal weight, and many have omitted her last play. This study aims to unite literary and theological methodologies in arguing that Sayers’s festival plays demonstrate an increasingly participative sacramentality that culminates in the onstage baptism of the final play, written for the Festival of Britain, The Emperor Constantine.
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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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Livres sur le sujet "English English drama Bible plays"

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Traditions of medieval English drama. [Pittsburgh] : University of Pittsburg Press, 1987.

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Williams, Guy R. David and Goliath. Studio City, CA : Players Press, 1991.

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Williams, Guy R. Burning fiery furnace : Shadrach, Meshach, and Abednego. Studio City, CA : Players Press, 1991.

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Jackie, Johnston, dir. Medieval drama. Basingstoke : Macmillan, 1991.

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The York Corpus Christi plays. Kalamazoo, Mich : Published for TEAMS (the Consortium for the Teaching of the Middle Ages) in association with the University of Rochester by Medieval Institute Publications, 2011.

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Schommer, Trudy. Easiest Gospel plays ever. Mystic, Conn : Twenty-Third Publications, 1993.

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The mysteries. London : Faber and Faber, 1985.

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Tony, Harrison. The mysteries. London : Faber, 1985.

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Medieval English drama : An annotated bibliography of recent criticism. New York : Garland Pub., 1990.

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Sayers, Dorothy L. The man born to be king : A play-cycle on the life of our Lord and Saviour Jesus Christ. San Francisco : Ignatius Press, 1990.

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Chapitres de livres sur le sujet "English English drama Bible plays"

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Hirrel, Michael J. « Thomas Watson, Playwright : Origins of Modern English Drama ». Dans Lost Plays in Shakespeare’s England, 187–207. London : Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137403971_11.

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Salmon, Vivian. « Elizabethan Colloquial English in the Falstaff Plays ». Dans A Reader in the Language of Shakespearean Drama, 37. Amsterdam : John Benjamins Publishing Company, 1987. http://dx.doi.org/10.1075/sihols.35.08sal.

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Lerud, Theodore K. « Plays, Places, and the Dramatic Records ». Dans Memory, Images, and the English Corpus Christi Drama, 95–104. New York : Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613799_8.

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Lerud, Theodore K. « The Missing Link : Spaces, Places, and the Chester Whitsun Plays ». Dans Memory, Images, and the English Corpus Christi Drama, 135–46. New York : Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230613799_11.

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Ciobanu, Estella. « The Body in Pieces : Judicial Torture and/as Musical Dismemberment in the Passion Plays ». Dans Representations of the Body in Middle English Biblical Drama, 125–88. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90918-9_4.

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Ciobanu, Estella. « Commemorations of Christ’s Passion Body : Ostentatio Vulnerum, Redemptive Theology and Violence of Representation in the Post-Crucifixion Plays ». Dans Representations of the Body in Middle English Biblical Drama, 189–232. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90918-9_5.

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Ciobanu, Estella. « Noah’s Wife in the Flood Plays : The Body of Argument Between Argumentum ad Verecundiam, Argumentum ad Hominem and Argumentum ad Baculum ». Dans Representations of the Body in Middle English Biblical Drama, 235–63. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90918-9_6.

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Ó Siadhail, Pádraig. « Gearóid Ó Lochlainn : The Gate Theatre’s Other Irish-Speaking Founder ». Dans Cultural Convergence, 47–73. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_3.

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Abstract The association of the Gate Theatre with the Irish language has been always conceived via Micheál mac Liammóir; however, another of its founders, Gearóid Ó Lochlainn, was also Irish-speaking. Ó Lochlainn was a versatile actor in Irish and English, wrote a series of plays in Irish and translated into Irish works by Shakespeare, Ibsen and others. This chapter seeks to fill a gap in the story of the Gate by providing a brief biographical sketch of Ó Lochlainn, including his time in Denmark, a discussion of his role in efforts to establish Irish-language theatre in Dublin (specifically, An Comhar Drámuíochta, which was hosted by the Gate Theatre in 1930-1934), a summary of his involvement with the Gate, a critique of his original plays and his translations which, in introducing Dublin’s Irish-language theatregoers to world drama, complemented the mission of the Gate, and an assessment of Ó Lochlainn’s achievement.
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« Early Plays ». Dans English Drama, 27–45. Routledge, 2014. http://dx.doi.org/10.4324/9781315836638-11.

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« APPENDIX : English Plays from the Comedia ». Dans Renaissance Drama in England and Spain, 235–62. Princeton University Press, 2019. http://dx.doi.org/10.1515/9780691198095-011.

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