PROLOGUE: CUSTOMS—A CASE STUDY
... ultimately, ontological values. Against the strength and revelatory potential of “performance” as a genre is set the “mere” conventionality of “theatricality”. The production strays—“veers”—into the “wrong place”. The desirable coolness of performance is displaced (or even possibly reclaimed) by the ...
... ultimately, ontological values. Against the strength and revelatory potential of “performance” as a genre is set the “mere” conventionality of “theatricality”. The production strays—“veers”—into the “wrong place”. The desirable coolness of performance is displaced (or even possibly reclaimed) by the ...
Staging Quakerism in American Theatre and Film
... nary decades. By 1790, though, Federalists and other Philadelphia elites gave their support so that stage productions could be mounted without serious objection. Indeed, the difficulties faced by Murdock in staging The Triumphs of Love, with its inclusion of the first slave emancipation scene in Ame ...
... nary decades. By 1790, though, Federalists and other Philadelphia elites gave their support so that stage productions could be mounted without serious objection. Indeed, the difficulties faced by Murdock in staging The Triumphs of Love, with its inclusion of the first slave emancipation scene in Ame ...
Playing with time: the relationship between theatrical timeframe
... popular entertainment mode. They were, as was common in the late 1960s, mounted as a “star vehicle” for popular stage and film stars well known to the audience. Ayckbourn’s plays are not noted for having lead or star roles, but rather work as ensemble pieces. The result being that the stars (for exa ...
... popular entertainment mode. They were, as was common in the late 1960s, mounted as a “star vehicle” for popular stage and film stars well known to the audience. Ayckbourn’s plays are not noted for having lead or star roles, but rather work as ensemble pieces. The result being that the stars (for exa ...
Master_Thesis
... In the first part of the first chapter, I will attempt to depict the traditions in English Drama of the 1800s, drawing upon the writings of a number of different theatre historians, to highlight the influence of melodrama, spectacle and realism. The history of melodrama and spectacle is not simply a ...
... In the first part of the first chapter, I will attempt to depict the traditions in English Drama of the 1800s, drawing upon the writings of a number of different theatre historians, to highlight the influence of melodrama, spectacle and realism. The history of melodrama and spectacle is not simply a ...
Performing the Legacy of War in Uganda
... SURPRISE! Yelled the youthful lot of Kampala Pentecostal Church (KPC) drama wing one day, in 2003. These young theatre practitioners and I had worked on a number of fruitful plays together—The Web, My Secret, You Are That Man—with me doing the dramaturgical work, without having an idea that is what ...
... SURPRISE! Yelled the youthful lot of Kampala Pentecostal Church (KPC) drama wing one day, in 2003. These young theatre practitioners and I had worked on a number of fruitful plays together—The Web, My Secret, You Are That Man—with me doing the dramaturgical work, without having an idea that is what ...
- KIP Kota Sabang
... attempts to locate the theatre in the context of a developing society. Both timeline and overview also allow individual authors to avoid any urge to offer inclusiveness and to provide, when appropriate, more detailed coverage of important individuals or events, so that, for example, Arnold Aronson o ...
... attempts to locate the theatre in the context of a developing society. Both timeline and overview also allow individual authors to avoid any urge to offer inclusiveness and to provide, when appropriate, more detailed coverage of important individuals or events, so that, for example, Arnold Aronson o ...
ACTING STYLES OF KATHAKALI AND KABUKI
... in this chapter. Besides this, the methodology adopted is also explained. ...
... in this chapter. Besides this, the methodology adopted is also explained. ...
By the Bog of Cats… - ARAN Home
... traditions, national myths and accepted gender roles in liberating rather than didactic ways. Both do so not just through the written word but also through other important signifiers such as costume and gesture. Existing scholarship and criticism have tended to circumscribe each playwright within ce ...
... traditions, national myths and accepted gender roles in liberating rather than didactic ways. Both do so not just through the written word but also through other important signifiers such as costume and gesture. Existing scholarship and criticism have tended to circumscribe each playwright within ce ...
`The Reality of Doing`: Meisner Technique and British Actor
... which emotional expressiveness occurs as a result of a series of external impulses. Whereas Adler’s approach encompassed the importance of ‘a play’s given circumstances, the actor’s imagination and physical actions’ (Krasner 2000, p. 139), Meisner focused on the need to explore the dynamics of sceni ...
... which emotional expressiveness occurs as a result of a series of external impulses. Whereas Adler’s approach encompassed the importance of ‘a play’s given circumstances, the actor’s imagination and physical actions’ (Krasner 2000, p. 139), Meisner focused on the need to explore the dynamics of sceni ...
Power, Cormac (2006) Presence in play: a critique of theories of
... representing this presence. 'Presence', as Derrida suggests, 'in order to be presence and selfpresence, has always already begun to represent itself' (Derrida 1978: 249). Theatre theorist Elinor Fuchs draws specifically on Derrida in her critique oftheatrical presence. 'Derrida', Fuchs claims, has ' ...
... representing this presence. 'Presence', as Derrida suggests, 'in order to be presence and selfpresence, has always already begun to represent itself' (Derrida 1978: 249). Theatre theorist Elinor Fuchs draws specifically on Derrida in her critique oftheatrical presence. 'Derrida', Fuchs claims, has ' ...
They reckon I need a dramaturg : examining the
... development. Or they may be directly approached by a writer or director who knows of their reputation. So where did these dramaturgs come from? ...
... development. Or they may be directly approached by a writer or director who knows of their reputation. So where did these dramaturgs come from? ...
YING TONG SCHOOLS DAY PERFORMANCE
... I grew up in the England of the 1970s: a grey and mean land where it always rained. All skinhead gob, inflation, the three day week and losing the Cod War to Iceland. The latter being one of my country’s more embarrassing moments but in our defence they threw herring and we only had bullets: the dir ...
... I grew up in the England of the 1970s: a grey and mean land where it always rained. All skinhead gob, inflation, the three day week and losing the Cod War to Iceland. The latter being one of my country’s more embarrassing moments but in our defence they threw herring and we only had bullets: the dir ...
PDF hosted at the Radboud Repository of the Radboud University
... w h o did at that t i m e , b u t they must certainly have gone n o w and again, for G r e i n ' s first m e m o r y of the theatre was that of a performance of Alphonse D ' E n n e r y ' s Centenaire. As a child of five he had seen the ropedancer Blondin performing his feats in Amsterdam and h e ha ...
... w h o did at that t i m e , b u t they must certainly have gone n o w and again, for G r e i n ' s first m e m o r y of the theatre was that of a performance of Alphonse D ' E n n e r y ' s Centenaire. As a child of five he had seen the ropedancer Blondin performing his feats in Amsterdam and h e ha ...
BIOColman the Younge..
... custom and the market alone had enforced the summer closings. Thus the larger houses never felt obliged to stop a successful run on 15 May simply because that was the Haymarket's legal opening night. These intrusions often ran on into June, delaying the Haymarket's opening for a month or more, a rui ...
... custom and the market alone had enforced the summer closings. Thus the larger houses never felt obliged to stop a successful run on 15 May simply because that was the Haymarket's legal opening night. These intrusions often ran on into June, delaying the Haymarket's opening for a month or more, a rui ...
Rewriting the Greeks: The Translations, Adaptations, Distant
... The plays of Aeschylus, Sophocles, and Euripides have been translated, adapted, and re-written into the English language in a manner not witnessed with any other dramatic works. No other dramatists have received such a great number of stage adaptations except for Shakespeare. However, not even Shake ...
... The plays of Aeschylus, Sophocles, and Euripides have been translated, adapted, and re-written into the English language in a manner not witnessed with any other dramatic works. No other dramatists have received such a great number of stage adaptations except for Shakespeare. However, not even Shake ...
Changing scenes and ying machines: re
... performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of th ...
... performers, this thesis examines how the numerous aspects of the Restoration performance, both in their singularity and as a collective, provided a performance driven by spectacle in order to create an appealing entertainment for its audience. In order to navigate and appreciate the complexity of th ...
A Rhetorical Analysis of Edward Albee`s Tiny Alice
... This Thesis is brought to you for free and open access by the Archives and Special Collections at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Graduate Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact ...
... This Thesis is brought to you for free and open access by the Archives and Special Collections at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Graduate Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact ...
FRANCIS FERGUSSON
... Six Characters in Search of an Author was first performed in 1921, Each in His Own Way was first performed in Rome in 1924 and Tonight We Improvise was first performed in Germany, at Koenigsberg, in 1929, followed a year later by the first Italian production in Turin. The fortunes of these three pla ...
... Six Characters in Search of an Author was first performed in 1921, Each in His Own Way was first performed in Rome in 1924 and Tonight We Improvise was first performed in Germany, at Koenigsberg, in 1929, followed a year later by the first Italian production in Turin. The fortunes of these three pla ...
SEAGULL ThEATrE QUArTErLY - The Seagull Foundation for the Arts
... remains that some of the finest playtexts written in Bengali in the period are not in the realistic mode at all, and some of them have gone through the embarrassment of being read/treated as realistic texts. While Bijan Bhattacharya is rarely staged with any degree of creativity, both Mohit Chattopa ...
... remains that some of the finest playtexts written in Bengali in the period are not in the realistic mode at all, and some of them have gone through the embarrassment of being read/treated as realistic texts. While Bijan Bhattacharya is rarely staged with any degree of creativity, both Mohit Chattopa ...
Medea
... Once this act of vengeance has been accomplished, she escapes to Athens to start a new life. The play was written by Euripides in 431 BCE and the play only came third at the annual Athenian play competition at the Theatre of Dionysus. There were only two other playwrights in the running, namely Soph ...
... Once this act of vengeance has been accomplished, she escapes to Athens to start a new life. The play was written by Euripides in 431 BCE and the play only came third at the annual Athenian play competition at the Theatre of Dionysus. There were only two other playwrights in the running, namely Soph ...
acting - DropPDF
... Esslin’s book The Theatre of the Absurd in 1961. Actors in these dramas are challenged to accept new paradigms of reality and progress logically from there in their building of a character. They are challenged to reach for their desires while maintaining or creating meaning around them. Absurd plays ...
... Esslin’s book The Theatre of the Absurd in 1961. Actors in these dramas are challenged to accept new paradigms of reality and progress logically from there in their building of a character. They are challenged to reach for their desires while maintaining or creating meaning around them. Absurd plays ...
towards an audience development plan for the national
... This study explores the concept of audience development in an attempt to create an audience development plan for the National Theatre of Ghana. For the National Theatre of Ghana, the relationship and attendance of audience to its programmes and resident groups’ productions is an issue of concern. Th ...
... This study explores the concept of audience development in an attempt to create an audience development plan for the National Theatre of Ghana. For the National Theatre of Ghana, the relationship and attendance of audience to its programmes and resident groups’ productions is an issue of concern. Th ...
BA Drama (Performance)
... belief that an engagement with the canons of dramatic literature provides a framework with contemporary relevance from a historical perspective which embraces theory, practice and plays from the early Greeks to modern times. In practical application of this principle, the drama programme recognises ...
... belief that an engagement with the canons of dramatic literature provides a framework with contemporary relevance from a historical perspective which embraces theory, practice and plays from the early Greeks to modern times. In practical application of this principle, the drama programme recognises ...
breaking tradition: reaching for the avant-garde in theatre
... employ three pieces of contemporary dramatic literature in US TYA as a means for investigating these moments that may constitute as a break in tradition. Within this study, I hope to gain a deeper understanding of what role the avant-garde may play within US TYA, as well as explore the possibilities ...
... employ three pieces of contemporary dramatic literature in US TYA as a means for investigating these moments that may constitute as a break in tradition. Within this study, I hope to gain a deeper understanding of what role the avant-garde may play within US TYA, as well as explore the possibilities ...
Drama
Drama is the specific mode of narrative, typically fictional, represented in performance. The term comes from the Greek word δρᾶμα, drama, meaning action, which is derived from the verb δράω, draō, meaning to do or to act. The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BC) by Sophocles are among the masterpieces of the art of drama. A modern example is Long Day's Journey into Night (1956) by Eugene O’Neill.The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene, the Muse of comedy represented by the laughing face, and the Muse of tragedy represented by the weeping face, respectively. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.The use of ""drama"" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe ""drama"" as a genre within their respective media. ""Radio drama"" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example). In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.