Zeitschriftenartikel: „Censorship – drama“

1

OTA, Kazuaki. „Jacobean Drama and Censorship“. Journal of UOEH 12, Nr. 2 (1990): 239–49. http://dx.doi.org/10.7888/juoeh.12.239.

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2

Davidson, Clifford. „Drama, Censorship, and “Vernacular Theology”“. Studies in Philology 116, Nr. 1 (2019): 35–53. http://dx.doi.org/10.1353/sip.2019.0001.

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3

Bratton, J. S., und John Russell Stephens. „The Censorship of English Drama 1824-1901“. Yearbook of English Studies 15 (1985): 314. http://dx.doi.org/10.2307/3508604.

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4

McKibbin, Ross. „The Censorship of British Drama, 1900–1968“. English Historical Review CXXI, Nr. 490 (01.02.2006): 340–42. http://dx.doi.org/10.1093/ehr/cej102.

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5

Schupak, Esther B. „Redefining Censorship“. European Judaism 51, Nr. 2 (01.09.2018): 134–42. http://dx.doi.org/10.3167/ej.2018.510219.

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Abstract Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.

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6

Schupak, Esther B. „Redefining Censorship“. European Judaism 51, Nr. 2 (01.09.2018): 134–42. http://dx.doi.org/10.3167/ej.2017.510219.

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Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.

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7

Edelstein, Gabriella. „‘Changed to another form’“. Critical Survey 36, Nr. 1 (01.03.2024): 44–57. http://dx.doi.org/10.3167/cs.2024.360104.

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Abstract This article demonstrates how dramatic censorship in London's public theatres necessitated a kind of collaborative playwriting with extra-authorial labourers. In the playbook manuscript of Sir John van Olden Barnauelt, the Master of the Revels, Sir George Buc, and the playhouse scribe, Ralph Crane, engaged in a collaborative process that resulted in the most censored extant dramatic document of the early modern English theatres. The censorship is revealing of how political drama was interpreted by its first readers – it was Buc's exegetical interpretation of Barnauelt as anti-monarchical that led to his collaborative revisions and the play's restructuring. This style of censorship also has wider implications. If almost every play was read and revised by the Master of the Revels and perhaps edited by a scribe, then most early modern drama was collaboratively written.

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8

Richmond, Steven. „"And Who Are the Judges?": Mikhail Bulgakov Versus Soviet Censorship, 1926-1936“. Russian History 33, Nr. 1 (2006): 83–107. http://dx.doi.org/10.1163/187633106x00050.

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AbstractMikhail Bulgakov is renowned for his challenge to the dry literary canons of the Soviet regime through his fantstical works of colorful content and unorthodox form, such as Sobach'e serd'tse (Heart of a Dog) and Master i Margarita. But Bulgakov is much mort than an exotic exception to Soviet puritanicalness. His works also include the highly practical and realistic, such as the tragic war-time works "Zapiski iungo vracha" (Notes of a Young Doctor) and Belaia gvardiia (The White Guad). Bulgakov's literary challenge to Soviet censorship also took direct forms. including two works that brazenly satire and examine the utterly taboo subjest of state censorship: the play, Bagrovyi ostrov (The Crimson Island) and Teaal'nyi roman (Theatrical Novel). Bulgakov's challenge to power also extendel to the epistolary, in the form of letters he sent to the Soviet government (and were read by Stalin) that contain attacks against the Soviet censorship bureau. In this real-life drama of Bulgakov versus Soviet censorship, we witness the icredible creativity and bravery of the artist, as well as discover his original and informative theory about how Soviet censorship operated. Let us begin our examina tion of this drama with the censorship bureau itself, how it first functioned and how it came to focus its sights on Bulgakov.

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9

Goldstein, Robert Justin. „Political Censorship of the Theatre in Nineteenth-Century Europe“. Theatre Research International 12, Nr. 3 (1987): 220–41. http://dx.doi.org/10.1017/s0307883300013699.

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Censorship of the stage, like censorship of the printed word, was widespread and well-established in Europe in 1815. However, while prior censorship of the press was eliminated throughout Europe by 1914, European countries almost universally retained prior censorship of the stage until (and sometimes well after) World War I. England became the first major European country to abolish censorship of the press in 1695, yet Parliament systematized a formerly haphazard theatre censorship in 1737, and did not end stage censorship until 1968. Most other European countries did not eliminate press censorship until about the middle of the nineteenth century, while maintaining theatre censorship throughout the century, and typically exercised much harsher controls over the stage than over the printed word. As John Allen has noted, ‘In many times and places the drama has been subject to far greater censorship than any other form of literature or art’, reflecting governmental feelings that ‘the theatre, with its power of affecting an audience with possibly subversive emotions and ideas, is more to be feared’.

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10

Howe, Tonya-Marie. „Eighteenth-Century Drama: Censorship, Society, and the Stage“. Restoration and Eighteenth-Century Theatre Research 31, Nr. 1 (2016): 133–36. http://dx.doi.org/10.5325/rectr.31.1.0133.

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11

Holdsworth, Nadine. „The Censorship of British Drama 1900-1968 (review)“. Modern Drama 48, Nr. 1 (2005): 204–6. http://dx.doi.org/10.1353/mdr.2005.0011.

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12

Bell, David. „Eighteenth Century Drama: Censorship, Society and the Stage“. Reference Reviews 31, Nr. 8 (16.10.2017): 28–30. http://dx.doi.org/10.1108/rr-05-2017-0121.

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13

Malaiko, Serhii. „MANIPULATION OF TRANSLATOR: UNCONSCIOUS TRANSLATION CENSORSHIP OF IDEOLOGICAL PHENOMENA (ON THE BASIS OF ENGLISH TRANSLATIONS OF VALERIAN PIDMOHYLNYI’S NOVELS)“. Inozenma Philologia, Nr. 135 (15.12.2022): 89–99. http://dx.doi.org/10.30970/fpl.2022.135.3809.

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The problem of censorship is essential for all forms of social activity. Every society strives to disrupt the ideas that it sees as detrimental to its existence in the fi eld of translation. This article presents an insight into unique cases of censorship regarding the ideological phenomena of the Soviet Union striving to unveil the all-pervasive nature of the occurrence. Two translated novels which became a subject of analysis, “The City” (“Місто”) and “A Little Touch of Drama” (“Невеличка драма”), belong to Valerian Pidmohylnyi and were translated by Prof. Maxim Tarnawsky and George and Moira Luckyj, respectively. The analysis indicates that translation censorship in these texts was, in many ways, unconscious as they involve either the preservation of censorship decisions made by other people or the acceptance of social stereotypes about a certain period. Key words: Pidmohylnyi, censorship, translation, unconscious, socialism, social.

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14

Di Pastena, Enrico. „Il bavaglio e la parola. Note su una pièce allegorica di Alfonso Sastre“. Caietele Echinox 39 (01.12.2020): 189–209. http://dx.doi.org/10.24193/cechinox.2020.39.14.

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"In The Gag (1954, original title: La mordaza), Alfonso Sastre recovered the external stylistic features of a rural drama to protest against the censorship of the Franco regime which, at the time of the composition of the play, began to prohibit or oppose the staging of his dramas. Using cues taken from the crime news, mindful of the lesson by O’Neill in Desire under the Elms and refining previous personal experiences, Sastre wrote a sparse drama of unquestionable communicative efficacy, in which the situation of an entire country is evoked through the events of a family tyrannized by a father-master. The Gag opposes to the forced silence the responsible and revealing words of denunciation of a rebellious character and the confident words of its creator. He does not fail to reflect on the distortions that every winner imposes on language."

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15

Etienne, Anne. „The censorship of British drama, volume 4 – the sixties“. Studies in Theatre and Performance 36, Nr. 1 (14.12.2015): 96–97. http://dx.doi.org/10.1080/14682761.2015.1121025.

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16

Lease, Bryce. „Theatre as Action, Dramaturgy as Streben: Cultural Confrontations at Lithuania’s National Drama Theatre“. TDR/The Drama Review 59, Nr. 1 (März 2015): 119–35. http://dx.doi.org/10.1162/dram_a_00432.

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Lithuanian theatre before 1991 fought against censorship and occupation, constructed viable cultural bonds, and affirmed social cohesion. Today, against a resurgence of Russian imperialism, the Lithuanian National Drama Theatre has attempted to situate questions of “who we are” in relation to contested histories and pervasive social and religious taboos.

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17

White, Lee. „The Censorship of British Drama, Vol. 2: 1933-1952 (review)“. Modern Drama 50, Nr. 1 (2007): 117–20. http://dx.doi.org/10.1353/mdr.2007.0030.

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18

Sullivan, Esther Beth. „Vectia, Man-Made Censorship, and the Drama of Marie Stopes“. Theatre Survey 46, Nr. 1 (Mai 2005): 79–102. http://dx.doi.org/10.1017/s0040557405000062.

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In the 1920s, the Royal Court Theatre still enjoyed the reputation earned earlier in the century by Harley Granville Barker and John Vedrenne, yet its daily fare was not remarkably distinctive from other West End theatres. In that context, an aspiring playwright was contracted to write a play for the Court's 1923 season. The playwright happened to be Marie Stopes, (in)famous author of the best-selling sex-education and birth-control manual Married Love. “Contracted” is the word Stopes uses. It could also be speculated that, in a year when the Court's five main undertakings had as many as five different producers and three different managers, the theatre was made available to Stopes, a celebrity on the London scene who had her own backing.

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19

Xiaoqing, Ye. „Imperial Institutions and Drama in the Qing Court“. European Journal of East Asian Studies 2, Nr. 2 (24.03.2003): 329–64. http://dx.doi.org/10.1163/15700615-00202008.

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This article is based on largely uninvestigated archival material in the First Historical Archives in Beijing. It addresses the following issues: (1) How and why an internal office, the Nanfu, which was responsible for drama performances inside the palace, expanded its functions to become a monitoring organisation, the Shengpingshu, which exercised censorship over all the drama groups in the capital. (2) How political events were reflected in drama performed on both public and private occasions, thus shedding light on the inner world of individual emperors. (3) How these institutional changes led to the Qing court playing an active role in the transformation of a regional lower-class entertainment into Peking opera, a national art form appreciated by all classes.

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20

Carlson, Marvin. „Contemporary Censorship Debates in Germany“. New Theatre Quarterly 40, Nr. 2 (29.04.2024): 160–66. http://dx.doi.org/10.1017/s0266464x24000058.

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During the past five years the cultural world in Germany has been shaken and divided by a series of controversies involving contemporary works of art charged with being anti-Semitic. Obviously, with the Holocaust continuing to occupy a major position in modern German consciousness and history, sensitivity to anti-Semitic expressions is particularly keen here. This sensitivity has been increased by a number of recent developments, including the growing visibility of far-right political groups, the rise of the Boycott, Divestment, and Sanctions movement (BDS) protesting Israeli treatment of the Palestinians, and the official politicization of these tensions by a parliamentary ruling in 2015 restricting the activities of the BDS. The conflict between legitimate criticism of policies of the Israeli state and legitimate censorship of ethnically offensive material has recently become increasingly bitter in Germany. This article discusses the dynamics of three of the most significant recent examples: the conflict involving Germany’s most prestigious arts festival, the Kassell documenta in 2020; the withdrawal in 2022 of the European Drama Award, the continent’s largest award, from British dramatist Caryl Churchill; and the withdrawal from the Munich stage of the most recent play by Wajdi Mouawad, who has been widely heralded in Germany as the most significant contemporary dramatist.

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21

Bevington, David, und Richard Dutton. „Mastering the Revels: The Regulation and Censorship of English Renaissance Drama.“ American Historical Review 99, Nr. 1 (Februar 1994): 225. http://dx.doi.org/10.2307/2166223.

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22

Clare, Janet, und Richard Dutton. „Mastering the Revels: The Regulation and Censorship of English Renaissance Drama“. Modern Language Review 89, Nr. 1 (Januar 1994): 191. http://dx.doi.org/10.2307/3733177.

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23

Streitberger, W. R., und Richard Dutton. „Mastering the Revels: The Regulation and Censorship of English Renaissance Drama.“ Shakespeare Quarterly 46, Nr. 1 (1995): 93. http://dx.doi.org/10.2307/2871160.

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24

Swindells, Julia. „Theatric Revolution: Drama, Censorship, and Romantic Period Subcultures 1773-1832 (review)“. Romanticism 13, Nr. 1 (2007): 92–94. http://dx.doi.org/10.1353/rom.2007.0020.

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25

Minden, Gabriela. „“verse-play” or “spoken ballet”? W. H. Auden, Rupert Doone, and a New Poetic Drama“. Modernism/modernity 30, Nr. 4 (November 2023): 743–65. http://dx.doi.org/10.1353/mod.2023.a925906.

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abstract: This article draws on previously neglected archival material to reexamine the first poetic drama written for Rupert Doone’s Group Theatre, W. H. Auden’s The Dance of Death (1933). I show that Doone, guided by the Ballets Russes’s “marriage of the arts,” worked alongside Auden to craft an innovative form of poetic drama whose meaning was generated not by the script on its own, but rather by the complex interaction of poetic text, visual metaphor, and corporeal rhetoric. Analyzing the choreographic aspects of The Dance of Death alongside its textuality thus brings into focus underexplored facets of the work’s notoriously ambiguous politics. Considering these politics within their historical context illuminates the significance of Doone’s dance-informed approach to theater, both for the Lord Chamberlain’s efforts regarding stage censorship and for Auden’s beliefs about the future of British poetic drama.

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26

Kastleman, Rebecca. „Synecdoche's Obloquy: Beckett and the Performance of Indecency“. Journal of Beckett Studies 29, Nr. 2 (September 2020): 179–95. http://dx.doi.org/10.3366/jobs.2020.0310.

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In Beckett's Ireland, the practice of censorship was bound up with the workings of literary genre. The fact that printed matter was subject to censorship, while theatre was not, meant that the censor played a role in maintaining the distinction between dramatic and nondramatic writing. Many Irish authors responded to these conditions by remediating censored narratives as theatre. Beckett adopted an alternative strategy, rejecting the legal premises of Irish censorship and crafting his literary style around a critique of the censor's reading practices. Beckett's responses to the Irish censor track his turn from the novel to the drama. Across genres, Beckett's writing in English was shaped by the climate of post-publication censorship in Ireland, the effects of which are legible even in works that were never banned. Beckett's rejoinder to the censor was articulated using terms set out by the Irish Free State's Committee on Evil Literature, which held that censors could prohibit a text based on one ‘indecent’ passage, rather than evaluating that excerpt in the context of the work as a whole. For Beckett, the literary trope of synecdoche—that is, the rhetorical substitution of a part for the whole—became associated with the censor's mode of reading. Beckett harnesses the trope of synecdoche to impugn Irish censorship practices, a pattern evident from the direct address to the censor in Murphy to the dramaturgical evocation of self-censorship in Not I. The use of synecdoche illuminates Beckett's reckoning with his cultural inheritance as an Irish writer and indexes his shift towards a cosmopolitan literary identity.

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27

Von Hoff, Dagmar. „Kontingenz-Erfahrung in der Romantik. Ausdrucksbegehren und Zensur bei Karoline von Günderrode“. Pandaemonium Germanicum, Nr. 4 (05.11.2000): 179. http://dx.doi.org/10.11606/1982-8837.pg.2000.64193.

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Este artigo oferece um panorama da vida e obra de Karoline von Günderrode (1780-1806) no Romantismo alemão. Karoline von Günderrode é uma das mais modernas e radicais escritoras de seu tempo, porque ela expressa a contingência, a marca de uma era moderna. O artigo tambéme examina aspectos de gendered censorship [censura em função de gênero] em seu trabalho, especialmente em seus dramas. Para compreender o fenômeno, é necessário ter uma visão da censura de dentro e de fora. O drama e o teatro no século XVIII eram um tabu para as mulheres. Günderrode reagiu com tripla auto-censura: em sua forma de expressar-se, em sua opção por escrever sob dois pseudônimos (Tian e Ion) e em sua decisão de deixar um número de dramas inacabados. Karoline von Günderrode cometeu suicídio aos 26 anos. É possível entender também seu suicídio como um ato de censura no contexto da experiência de contingência no Romantismo.

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28

SeungHee Lee. „The Formation of Realism Drama – The Dynamics of Socialistic Translation and Censorship“. Journal of Korean drama and theatre ll, Nr. 29 (April 2009): 47–84. http://dx.doi.org/10.17938/tjkdat.2009..29.47.

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29

Arrington, L. „DAVID WORRALL, Theatric Revolution: Drama, Censorship, and Romantic Period Subcultures 1773-1832.“ Notes and Queries 56, Nr. 4 (01.12.2009): 662–63. http://dx.doi.org/10.1093/notesj/gjp220.

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30

Swindells, Julia. „David Worrall's Theatric Revolution: Drama, Censorship, and Romantic Period Subcultures 1773–1832“. Romanticism 13, Nr. 1 (April 2007): 92–94. http://dx.doi.org/10.3366/rom.2007.13.1.92.

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31

Gibson, Melissa Dana. „The Censorship of British Drama 1900–1968, Volume Two: 1933–1952 by Steve Nicholson, and: The Censorship of British Drama 1900–1968, Volume Three: the Fifties by Steve Nicholson, and: The Censorship of British Drama 1900–1968, Volume Four: the Sixties by Steve Nicholson“. Theatre Journal 68, Nr. 3 (2016): 494–96. http://dx.doi.org/10.1353/tj.2016.0099.

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32

Alix-Nicolaï, Florian. „Exile Drama: The Translation of Ernst Toller's Pastor Hall (1939)“. Translation and Literature 24, Nr. 2 (Juli 2015): 190–202. http://dx.doi.org/10.3366/tal.2015.0201.

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Ernst Toller's Pastor Hall, one of the first plays to depict life in a concentration camp, counts among the few anti-Nazi dramas translated into English before World War Two. The process by which it came to the British stage reveals the impact of censorship on authors and translators of anti-Fascist plays. It also reveals conflicting aesthetic strategies to tackle fascism. While Toller relied on straightforward documentary realism, one of his translators, W. H. Auden, championed anti-illusionism and distrusted propaganda art. In the cultural fight to reclaim Germany's heritage from the Nazis, German writers in exile viewed translations as urgent messages demanding prompt action, whereas British writers tended to see them as an archive for future generations.

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33

Dana Van Kooy. „Theatric Revolution: Drama, Censorship, and Romantic Period Subcultures 1773–1832 (review)“. Theatre Journal 60, Nr. 3 (2008): 504–5. http://dx.doi.org/10.1353/tj.0.0050.

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34

Lacey, Stephen. „The Censorship of British Drama 1900–1968: Volume Four: The Sixtiesby Steve Nicholson“. Contemporary Theatre Review 26, Nr. 3 (02.07.2016): 382–83. http://dx.doi.org/10.1080/10486801.2016.1187518.

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35

Butler, Martin. „Ecclesiastical Censorship of Early Stuart Drama: The Case of Jonson's "The Magnetic Lady"“. Modern Philology 89, Nr. 4 (Mai 1992): 469–81. http://dx.doi.org/10.1086/391999.

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36

Bhatia, Nandi. „Censorship, “Obscenity” and Courtroom Drama: Reading Ismat Chughtai’s “Lihaaf” and “The ‘Lihaaf’ Trial”“. Law & Literature 32, Nr. 3 (14.02.2020): 457–75. http://dx.doi.org/10.1080/1535685x.2020.1721197.

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37

Diamond, Catherine. „A Delicate Balance: Negotiating Isolation and Globalization in the Burmese Performing Arts“. TDR/The Drama Review 53, Nr. 1 (März 2009): 93–128. http://dx.doi.org/10.1162/dram.2009.53.1.93.

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Because Myanmar's poverty and isolation somewhat protect its traditional performing arts from the competition of global influences, many of them flourish. The repressive military regime has appropriated the former court patronage of music and dance to assert its legitimacy. However, verbal arts such as literature, satire, spoken drama, and film are severely hampered by government censorship and lack of funding. Despite these obstacles, Burmese performers and their audiences demonstrate an amazing resilience: banned and formerly imprisoned performers continue to take to the stage, and audiences flock to see them.

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38

Bystrov, V. N. „Commentator’s Notes to A. A. Blok’s Datebook of 1915“. Russkaya literatura 4 (2020): 91–100. http://dx.doi.org/10.31860/0131-6095-2020-4-91-100.

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The report contains fragments of a commentary to A. А. Blokʼs datebook of 1915. Its features are briefly described. The focus is on the notes related to L. A. Delmas, the history of the censorship of the drama "The Rose and the Cross", the preparation of the book Poems of Apollo Grigoriev, the poetʼs response to the activities in the defense of the Jews (an appeal, a questionnaire, collection "The Shield" etc.). The purpose of the comments is to expand and clarify the context of some of Block’s entries in the datebook.

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39

Gibson, Melissa Dana. „The Censorship of British Drama 1900-1968, Vol. I, 1900-1932, and: Censorship of the American Theatre in the Twentieth Century (review)“. Theatre Journal 57, Nr. 4 (2005): 775–77. http://dx.doi.org/10.1353/tj.2006.0018.

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40

Zahrawi, Samar. „Syrian Drama Escaping Censorship: Sa’dallah Wannous’s The King’s Elephant and The King is King“. Arab World English Journal 6, Nr. 2 (15.06.2015): 329–36. http://dx.doi.org/10.24093/awej/vol6no2.25.

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41

Leff, Leonard J. „And Transfer to Cemetery: The Streetcars Named Desire“. Film Quarterly 55, Nr. 3 (2002): 29–37. http://dx.doi.org/10.1525/fq.2002.55.3.29.

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The 1993 rerelease of A Streetcar Named Desire restores four scattered minutes of footage that Catholic censors in the Legion of Decency ordered cut from the picture before its original 1951 release. Praising 1993 over 1951 (or vice versa) misses an important point: the 1993 rerelease is less the "Original Director's Version"(as it has been advertised) than the one the industry's own censors negotiated and endorsed. Moreover, these two texts, when paired, raise important questions about authorial intention as well about as the workings of style, censorship practices,and the tensile strength and curious tensions of an enduring American drama.

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42

Boles, William C. „The Censorship of British Drama, 1900-1968. Vol. 1, 1900-1932, and: The Censorship of British Drama, 1900-1968. Vol. 2, 1933-1952 (review)“. Comparative Drama 40, Nr. 2 (2006): 244–47. http://dx.doi.org/10.1353/cdr.2006.0025.

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43

Mishurovskaya, M., und E. Mikhaylova. „THE WHITE GUARD [BELAYA GVARDIYA] IS BANNED IN KIEV... THE FATE OF M. BULGAKOV’S PLAYS IN KIEV THEATRES IN 1926“. Voprosy literatury, Nr. 2 (30.09.2018): 294–332. http://dx.doi.org/10.31425/0042-8795-2018-2-294-332.

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Devoted to the production of M. Bulgakov’s plays in the 1926 Kiev, the article examines a comprehensive selection of archived manuscripts and printed material related to the staging of Bulgakov’s plays The Days of the Turbins [Dni Turbinykh] and Zoyka’s Apartment [Zoykina kvartira] in Ukrainian theatres: in I. Franko Ukrainian Drama Theatre and the Russian Drama Theatre (RDT). This review is the most comprehensive one to this day that analyses the main circumstances and motifs of the short-lived stage life of Bulgakov’s plays in the 1926 Kiev, a consequence of both the artistic policies of theatrical management, as well as the financial situation. Another reason was the ideological censorship imposed not only by the designated officials, but also by the contemporary nationalistic mood: first, it led to the ban of The Days of the Turbins at the I. Franko Theatre (director G. Yura) and then at RDT (director Y. Sobolev); next, the very popular and therefore lucrative play Zoyka’s Apartment had to be cancelled by RDT, which thus lost their box-office hit.

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Zhuang, Y. „Leningrad’s Theatre Censorship in the First Half of the 1950s (on Example of Drama Theaters)“. Modern History of Russia, Nr. 2 (2016): 268–76. http://dx.doi.org/10.21638/11701/spbu24.2016.214.

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Matvieieva, Kateryna. „REPERTOIRE TRADITION OF THE UKRAINIAN DRAMA THEATRE: HISTORICAL AND CULTURAL ASPECT“. CULTURE AND ARTS IN THE MODERN WORLD, Nr. 22 (30.06.2021): 71–84. http://dx.doi.org/10.31866/2410-1915.22.2021.235896.

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The purpose of the article is to find out the repertoire traditions of Ukrainian theatre from the first professional theatre to the present day. The research methodology applies an interdisciplinary approach. In particular, the principle of historicism is an opportunity to trace the change in the repertoire policy of theatres under the influence of sociopolitical circumstances. Structural-functional and macrodynamic methods to study the theatre at different stages of development are methods of analysis and synthesis used to identify the main artistic phenomena and trends in theatrical activities. Scientific novelty. Based on the analysis of the repertoire plays of five Ukrainian theatres: the Theatre of Coryphaei, Taras Shevchenko Kharkiv Academic Ukrainian Drama Theatre, Taras Shevchenko Dnipro National Academic Ukrainian Music and Drama Theatre, Ivan Franko National Academic Drama Theatre, Maria Zankovetska Theatre — trends in the development of the repertoire policy of the Ukrainian theatre are identified, the influence of traditions and society on the work of leading Ukrainian theatre figures is justified; the boundaries of the concept of “repertoire traditions” are expanded. Conclusions. The article examines the peculiarities of the development of Ukrainian theatre from the creation of the first professional theatre in Ukraine to the present day, highlights the impact of repertoire censorship. Five stages of the formation of the repertoire traditions of Ukrainian drama theatres are described: the period of the birth of Ukrainian drama (I. Kotliarevsky); further repertoire traditions in Tsarist Russia era; the formation of modern Ukrainian theatre (Les Kurbas); the period of World War II and post-war times, when there were attempts to transform the Ukrainian theatre into a Soviet one. It was found out that a unique feature of modern Ukrainian theatre is performances on second stages, one-person production, and the use of advanced technology.

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Pečiulis, Žygintas. „Sovietinės televizijos diskurso daugialypumas: oficialumo ir nuoširdumo drama“. Informacijos mokslai 63 (01.01.2013): 113–28. http://dx.doi.org/10.15388/im.2013.0.1588.

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Straipsnyje analizuojama sovietinio laikotarpio Lietuvos televizija. Pateikiamas Vakarų ir Rytų Europos audiovizualinės masinės komunikacijos istorinės raidos kontekstas, visuomeninių ir valstybinių transliuotojų funkcijų lyginamoji analizė. Pasitelkus sovietmečio dokumentus, televizijos laidų tekstus, televizijos darbuotojų prisiminimus, atskleidžiama audiovizualinės masinės komunikacijos priemonių vieta sovietinėje sistemoje, pateikiamos svarbiausios ideologinės klišės, analizuojamas cenzūros ir asmeninės cenzūros veikimas, televizijos darbuotojų santykio su sistema problema.Reikšminiai žodžiai: audiovizualinė masinė komunikacija, televizija, sovietinės Lietuvos televizija, ideologinės klišės, cenzūra, pranešimo stilistika.Multiplicity of Soviet television discourse: formality and sincerity dramaŽygintas Pečiulis SummaryInformation dosage during the Soviet period was based on noble purposes. Closed borders and information control were the ways to keep the system and persuade society. Peculiarities of society, such as the official doctrine and its treatment on the personal daily level or adaptation and rebellion dilemma determined the formation of multiple television discourses. The documents, memories, scripts of the time allow to reveal the television discourse multiplicity in soviet Lithuania and the intentions of the originators of such discourses. Modern media fall into stagnation, in a strictly regulated environment. However, the pomp of communism coincides with the dynamism and innovation of television. Television was used to promote the principal ideological postulates: internationalism, socialism, the cult of the proletariat and communism, the failure of capitalism, depreciation of independent Lithuania, atheism. The language was pompous, characterized by a combination of belletristic and bureaucratic styles, attention to the correctness. There were plenty of phrases reminiscent of fairy tale and myth phraseology. Key words: audio-visual mass communication, television, the soviet Lithuanian television, ideological clichés, censorship, communication style.

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Arya, Sakshi G., und O. P. Dewal. „On Controversy’s Path: Analysing the Period Drama Padmaavat“. MediaSpace: DME Media Journal of Communication 4, Nr. 01 (19.08.2023): 24–31. http://dx.doi.org/10.53361/dmejc.v4i01.04.

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India is a country with a rich multicultural history. And the Indian audience has a thirst to know their past. As an immersive art form, a film can transport its viewer into the world that is depicted on the screen, and thus history has been a popular subject for film makers and audience. A journey that started in the 1950s with films like Anarkali has continued over the years with films like Mangal Pandey: The Rising, Legend of Bhagat Singh, Manikarna: Queen of Jhansi, Samrat Prithviraj and so many others. The journey for these films to the silver screen in recent years has not been an easy one, with many a historical film facing dissent from several sections in India. Perhaps one of the most widespread controversies in recent decades has been over the film Padmaavat that released in the year 2018.This study explored the censorship debate that surrounded the film from 2017-2018 and the various factors and sides involved in it. The film that was panned by various groups was still a huge success at the box office. Using a case study approach, this research analysed this multi-faceted response to the historical film. Along with an in-depth analysis of the controversy, the present work also assessed the narrative tools, theme, characters, plot and other storytelling elements that have been employed in the making of the film. This helped construct a clear and concise timeline of the controversy and also to understand how a film maker may create a successful and engaging period film.

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Zahrawi, Samar. „The Hierarchy of Oppression, from Authoritarianism to Misogyny: A Study in the Monodrama of Mamdouh ʿUdwan“. Arab World English Journal For Translation and Literary Studies 6, Nr. 1 (24.02.2022): 20–29. http://dx.doi.org/10.24093/awejtls/vol6no1.2.

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This paper will focus on the drama of the Syrian dramatist and poet Mamdouh ʿUdwan (1941-2004), who has not yet received due critical attention. During his twenty years writing for the stage, ʿUdwan resisted oppressive political regimes and was consequently marginalized and impoverished. Due to censorship, his drama does not delineate the free society that he dreams of, nor does it openly censure the sources of corruption. On the contrary, he creates ambiguous male characters who enjoy a measure of dignity and social decorum but simultaneously unravel their toxic masculinity and oppressive nature. On the other hand, women are kept offstage and are victims of either male chauvinism or social hypocrisy. This study will follow the unmasking of male authority and its parallel to political and economic hegemony. The purpose is to critique the values of Arab culture, which customarily cements male privilege. An analytical study of the form and content of ʿUdwan’s monodramas That’s Life (1987), The Garbage Collector (1987), and The Cannibals (1984) will link oppressive social behavior to political autocracy. It suggests that misogyny and oppression of women are consequences of men feeling crushed by dictatorship and corruption.

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이정배. „A study of Censorship Internalization in 1960's- Focused on historical drama by Sin Sang-Ok“. Drama Research ll, Nr. 32 (Juni 2010): 115–43. http://dx.doi.org/10.15716/dr.2010..32.115.

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Lal, Ananda. „Acts of Authority/Acts of Resistance: Theater and Politics in Colonial and Postcolonial India. By Nandi Bhatia. Ann Arbor, MI: University of Michigan Press, 2004; pp. vi + 206 pp. $49.50 cloth.“ Theatre Survey 46, Nr. 2 (25.10.2005): 311–13. http://dx.doi.org/10.1017/s0040557405210207.

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There are few dependable books in English on political theatre in India. Professor Bhatia's collection of essays, therefore, fills a long-felt need. She introduces the subject contextually, followed by four chapters chronologically examining key areas (British censorship of nationalistic drama, Indianizations of Shakespeare as an anticolonial statement, the Indian People's Theatre Association as a mass phenomenon in the mid-twentieth century, and Utpal Dutt's reinterpretation of Raj history in his play The Great Rebellion 1857), and concludes with a short epilogue on contemporary activist theatre by women. Most valuably for theatre historians, she places in the public domain many primary sources previously untapped in English, and unearths much secondary material that has escaped academic attention. Not least of all, she writes articulately and readably.

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