Auswahl der wissenschaftlichen Literatur zum Thema „Communism – Drama“
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Zeitschriftenartikel zum Thema "Communism – Drama"
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A, Gurumoorthi. „Bharathidasan's Dravidian Ideology in Poetic Plays“. International Research Journal of Tamil 4, S-5 (25.08.2022): 271–75. http://dx.doi.org/10.34256/irjt22s542.
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The extensive use of his ideas through drama has been continuous since time immemorial. The structure of the play is what man created for the rest of time in the form of a story based on his fantasies. Bharathidasan's plays are a repository of all Dravidian ideologies such as self-respect, rationalism, feminist emancipation, communism, brahmanism, and denial of God. Of these, what we have taken into consideration are the Veera Thai drama, which explains that women are a symbol of heroism, the sea-top bubble drama that deals with communist ideas, and the play Puthukkaradi, which explains how the Aryans who changed Tamil culture introduced their ideas into Tamil Nadu.
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Giorgi, Edoardo. „Vișniec’s History of Communism: the “Psychopathology” and the Political “Trauma” in Socialist Heterotopies and Atopies“. Studia Universitatis Babeș-Bolyai Philologia 68, Nr. 2 (25.06.2023): 243–64. http://dx.doi.org/10.24193/subbphilo.2023.2.14.
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"Vișniec’s History of Communism: the “Psychopathology” and the Political “Trauma” in Socialist Heterotopies and Atopies. This contribution is focused on the famous and interesting drama written by the playwright Matei Vișniec and especially on the peculiarities of the communist psychiatric clinics. By the means of anthropology, this contribution hopes to shed a light on the hidden movements that concerns the management of these institutions, and on how the patients/prisoners were able to resist to some of the most disturbing hardships that were common in that period and in those places. This analysis has been conducted scene by scene, and presents therefore some in depth personal observations, accompanied by studies of great solidity directly regarding the drama but also analysing the general situation (like, for instance, some essays of Michel Foucault and Erving Goffman) that allow a bird-eye observation of the anthropological dynamics on stage. The analysis may as well result in new ways of though on this pièce and maybe even in some interesting debates, although the drama itself is not so recent. The primary goal is to demonstrate how the primigenial vein of the Absurd, present in Vișniec, has become much more bounded to history itself, and to stress out the strong ethicality of the drama. Keywords: communism, psychiatric clinics, Pan-anopticon, alienation, mental resistance, wooden language, anomic patients."
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Kunicki, Mikołaj. „The Red and the Brown: Bolesław Piasecki, the Polish Communists, and the Anti-Zionist Campaign in Poland, 1967-68“. East European Politics and Societies: and Cultures 19, Nr. 2 (Mai 2005): 185–225. http://dx.doi.org/10.1177/0888325404270673.
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This article complements studies on 1968 in Poland that have explained the anti-Semitic campaign by pointing to the Soviet factor, traditional Polish anti-Semitism, or factional conflict within the Polish Communist Party. The article attributes March 1968 to the communists’ growing reliance on Polish nationalism. It narrows the scale of historical observation to the case of Bolesław Piasecki (1915-79), a prominent nationalist politician. A fascist in the 1930s and a proregime Catholic activist after the war, Piasecki was the leading proponent of the mutual reinforcement of nationalism and communism. Melding Piasecki’s role in the 1968 drama with the ideological metamorphosis of the Polish Communist Party, the article argues that under certain conditions, not only did the communists utilize nationalism, but they also prolonged the existence of the nationalist radical right, which supplied the chauvinistic message during the anti-Semitic campaign.
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Olechowska, Elżbieta. „Ancient Plays on Stage in Communist Poland“. Keria: Studia Latina et Graeca 20, Nr. 3 (22.11.2018): 41–74. http://dx.doi.org/10.4312/keria.20.3.41-74.
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A recently published analytical register of all ancient plays and plays inspired by antiquity staged in Poland during communism, provided factual material for this study of ancient drama in Polish theatre controlled by the state and of its evolution from the end of WW2 to the collapse of the Soviet regime. The quasi-total devastation of theatrical infrastructure and loss of talent caused by the war, combined with an immediate seizing of control over culture by Communist authorities, played a crucial role in the shaping of the reborn stage and its repertoire. All Aeschylus’ plays were performed at various points during the period, four out of seven Sophocles’ tragedies – with Antigone, a special case, by far the most popular – about half of the extant Euripides’ drama, some Aristophanes, very little of Roman tragedy (Seneca) and a bit more of Roman comedy (Plautus). The ancient plays were produced in big urban centres, as well as in the provinces, and nationally, by the state radio and later television. The various theatres and the most important directors involved in these productions are discussed and compared, with a chronological and geographical list of venues and plays provided.
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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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Kročanová, Dagmar. „The Holocaust in Slovak Drama“. Poznańskie Studia Slawistyczne, Nr. 12 (21.09.2017): 197–210. http://dx.doi.org/10.14746/pss.2017.12.13.
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The article discusses several Slovak plays with the theme of the Holocaust; namely Ticho (Silence) by Juraj Váh, Holokaust (Holocaust) by Viliam Klimáček, and Rabínka (The Woman Rabbi) by Anna Grusková. It also briefly refers to Návrat do života (Return to Life) and Antigona a tí druhí (Antigone and Those Others) by Peter Karvaš, both mediating traumas from concentration camps. Two plays (Ticho and Návrat do života) were written and staged immediately after the Second World War. Karvaš’s Antigona is a rare occurrence of the theme in Slovak drama during the Communism (in the early 1960s), whereas Klimáček’s and Grusková’s plays are recent, both staged in 2012. The article focuses on several aspects of these five plays: on dramatic characters representing “victims”, “witnesses” and “culprits” (Panas, quoted in Gawliński 2007: 19); on references about and/or representation of the Holocaust in dramatic texts; and on the type of the conflict(s) in the plays. It also mentions specific approaches of respective authors when dealing with the theme of the Holocaust, as well as with the relevance of their reflection of the theme for Slovak society in respective periods.
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Gac, Dominik. „‘I Want to be a Free Man in a Free World’, Or Romantic Terrorism and the Failed Revolution in Józef Łobodowski’s Liberation“. Ruch Literacki 57, Nr. 4 (01.09.2016): 460–76. http://dx.doi.org/10.1515/ruch-2017-0075.
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Summary This article is the first critical analysis and interpretation of Liberation (Wyzwolenie), the only drama in the oeuvre of Józef Łobodowski. Written in 1933 and deposited in the 1980s at the Józef Czechowicz Museum of Literature in Lublin, Liberation has remained unpublished and practically forgotten. It is however a notable example of political drama dealing with socialism and communism, and in particular the author’s bitter reflection about the failure of the leftist ideals in the aftermath of World War I. Using a variety of interpretative tropes, the article examines, firstly, the links between the plot of the play and Łobodowski’s own experiences (the autobiographical elements are quite prominent), and, secondly, the network of references and correspondences between Liberation and Łobodowski’s émigré novels. What this analysis shows as well is the prominence of Romantic themes in the writer’s fiction.
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Deli, Peter. „Esprit and the Soviet Invasions of Hungary and Czechoslovakia“. Contemporary European History 9, Nr. 1 (März 2000): 39–58. http://dx.doi.org/10.1017/s0960777300001028.
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There has been extensive debate on changing attitudes within the French left-wing intelligentsia in the decades following the Second World War and more specifically on why so many intellectuals became fellow travellers and were attracted to Stalinism in the period between 1945 and 1953. Esprit's reactions to de-Stalinisation from the time of the Russian invasion of Hungary in 1956 to the Soviet suppression of the Czech attempt to reform communism from within in 1968 are of interest, since Esprit was the most prominent Catholic left-wing but non-Marxist journal in France. In view of Esprit's very strong reaction to the Hungarian Revolution, its relative silence in 1968 on the drama that was being played out in Czechoslovakia requires explanation. Finally, because Esprit broke with communism in late 1956, intellectuals writing for that journal experienced little difficulty in adjusting to the new French intellectual climate of the mid-1970s.
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Shore, Marci. „“If We're Proud of Freud . . .”“. East European Politics and Societies: and Cultures 23, Nr. 3 (05.05.2009): 298–314. http://dx.doi.org/10.1177/0888325409333190.
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This essay examines the vexed question of the relationship between Jews and communism. Drawing largely on archival material, I examine the experiences of several Polish-Jewish communists before, during and after the Second World War. I argue that “Judeo-Bolshevism” is perhaps best understood neither as a antisemitic stereotype or as a sociologically (over)determined proclivity but rather as biography, as epic human drama. A Freudian motif—in particular Oedipal rebellion—frames the essay, which begins and ends with the children and grandchildren of “Judeo-Bolshevism.”
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Nicholson, Steve. „Responses to Revolution: the Soviet Union Portrayed in the British Theatre, 1917–29“. New Theatre Quarterly 8, Nr. 29 (Februar 1992): 62–69. http://dx.doi.org/10.1017/s0266464x00006321.
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In theatrical parlance, ‘political’ is often taken to be synonymous with ‘left-wing’, and research into political theatre movements of the first half of this century has perpetuated the assumption that the right has generally avoided taking politics as subject matter. This article, the first of two about British political theatre in the 1920s, concentrates on plays about Communism and the Soviet Union during the decade following the Russian Revolution, and offers some contrasting conclusions. Steve Nicholson, Lecturer in Drama at the Workshop Theatre of the University of Leeds, argues that, whether such plays shaped or merely reflected conventional views, they were used by the establishment for the most blatant and explicit propaganda, at a time when it felt itself under threat from the Left. The article has been researched largely through unpublished manuscripts in the Lord Chamberlain's collection of plays, housed in the British Library, and derives from a broader study of the portrayal of Communism in the British theatre from 1917 to 1945.
Dissertationen zum Thema "Communism – Drama"
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Thomsen, Frank. „Von der Taktik zur Tugend Wandlung des Ethikkonzepts in Brechts marxistischen Dramen von 1929-1945 /“. Frankfurt : Lang, 2008. http://catalog.hathitrust.org/api/volumes/oclc/272561135.html.
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Sheehy, Margaret. „Community and celebration in community plays“. Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369683.
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Nelson, Bethany. „Drama and multiculturalism : power, community and change“. Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/45734/.
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This three phase research project, conducted with low-income students of color in an urban high school, addresses the use of process drama and playmaking as primary modes for addressing components of best practice in multicultural education, and altering the reproduction of hegemonic ideologies in schools. Further, the effects of classroom community on the learning outcomes of the project are considered. This is a qualitative study using participant observation as a primary form of data collection, followed by ethnographic interviews. Data analysis followed a primarily inductive process with a focus on the development of grounded theory to explain the outcomes. Discussion of project outcomes are considered in relationship to literature on the nature of ideologies, the ways that public schooling both supports and exacerbates existing dynamics, the suitability of public schools as potential sites of change in these dynamics, and the potential of applied drama/theatre to provide a viable alternative curricular approach for facilitating change in hegemonic reproduction in schools.
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Preda, Colegiu Roxana Natalia. „Petru Dumitriu – Le drame de l’écrivain entre deux mondes“. Thesis, Paris Est, 2015. http://www.theses.fr/2015PESC0025.
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La présente thèse c’est l’histoire d’une vie, des sommets et des abîmes, de la lumière et des ténèbres, des sourires et des sanglots. Les deux moitiés complémentaires de la vie, une manière d’expression personnelle et unique, une force créatrice qui va au-delà des limites, le talent littéraire indiscutable, voilà quelques mots-clefs qui caractérisent bien notre auteur. La métamorphose imprévisible continuelle manifestée dans son œuvre et les secrets de son écriture, contestée et appréciée à la fois, ne sont que des pistes générales qu’on se propose de développer tout au long de cette recherche. Les nombreuses publications récentes montrent un grand intérêt qui existe pour un sujet encore actuel et inépuisé, pour une époque qui suscite une longue chaîne d’interrogations, qui ne cesse de surprendre. Un thème de discussion toujours effervescent et passionné, qui accueille de plus en plus de participants prêts à se délivrer des mystères d’une époque lourde et obscure. Pourquoi « Le drame de l’écrivain entre deux mondes » ? Un titre apparemment simple, pour un thème vraiment complexe. Probablement parce que Petru Dumitriu est un cas atypique ; en contraste avec ceux qui préfèrent vivre en silence leurs drames, préserver au maximum leur intimité, tout sceller pour toujours dans les profondeurs de leur âme, Petru Dumitriu choisit l’ouverture, la sincérité totale, le récit assumé d’une expérience qui émeut dès les premières phrasesThe current thesis is the story of a life, peaks and abysses, light and darkness, smiles and tears. The two complementary halves of life, a way of personal and unique expression, a creative force that goes beyond the limits, the indisputable literary talent, here are some keywords that perfectly characterize our author.The continual metamorphosis unpredictable manifested in his work and the secrets of his writing, both challenged and appreciated are only general tracks that we propose to develop throughout this research.The many recent publications show great interest that exists for a current and still unexhausted subject to a time that elicits a long string of questions, which continues to surprise. A topic of discussion still effervescent and passionate, which welcomes more and more participants willing to deliver mysteries of a heavy and dark time.Why "The drama of the writer between two worlds"? An apparently simple title for a truly complex issue. Probably because Petru Dumitriu is an atypical case; in contrast to those who prefer to live in silence their dramas, preserve their privacy at the maximum while sealed forever in the depths of their soul, Petru Dumitriu chooses aperture, total sincerity, the narrative assumed an experience that moves from the very first sentences
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Aitchison, Bridget Mary. „Transformational drama: theatre for community and social change“. Thesis, Faculty of Creative Arts, 2001. https://ro.uow.edu.au/theses/943.
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Transformational Drama is theatre which acts as a catalyst for change in communities and in society. It addresses issues of social importance and changes people's perceptions, attitudes and reactions to those issues. This thesis explores the foundational theory behind transformational drama, including the use of drama as an applied art as found in the work of Jacob Moreno (the founder of psychodrama), Richard Scheckner and Augusto Boal. It then examines the reclamation of the transformational properties of drama from the behavioural sciences back into the conventional theatre by looking at the community theatre and Theatre-In-Education movements. Three plays are examined for their transformational effect - Aftershocks, Property of the Clan/Blackrock, and Runaways. Each had their own particular methodology (verbatim, scripted and devised) which leant itself toward theatre which caused social change. Each created transformations in the communities for which they were originally produced but each also went on to affect wider, main-stream audiences. In researching these three plays, the author combined elements of each, as well as the foundational theory, to create a new methodology for the production of transformational drama. This method was trialled in Back From Nowhere, a production based on the issue of youth-suicide. The thesis details the process used to create this play and an analysis of the resulting product.
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Li, Jing. „Self in community: twentieth-century American drama by women“. HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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YU, Hsiao Min. „English drama For critical pedagogy : adapting Caryl Churchill’S dramas as a methodological tool for community-engaged theatre workshopping in post-Umbrella Movement Hong Kong“. Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/eng_etd/12.
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Tertiary-level drama is often condescendingly perceived in Hong Kong as either vocational or leisure-related, and tends to be marginalized in many – though not all – curricula as an activity for extra-curricular inter-university competition. This research aims at re-imagining Drama and Community Theatre as a critical pedagogy in promoting community culture. The aim of the research project is to strengthen the social functions of drama as community experience and as a tool for empowerment in the ‘glocal’ sociopolitical context of today. The study examines the methodology of a semi-scripted, community-engaged, theatre workshopping initiative with scenes adapted from Caryl Churchill’s plays, offering a powerful pedagogic praxis with the goal of raising social and cultural consciousness in the post-Umbrella Movement era of Hong Kong.
The first part of the study focuses on the experimental forms of community-oriented plays and theatre workshopping practices in historical contexts, investigating how Churchill’s plays respond to theatre as social criticism in contemporary society. It proposes four community-engaged theatre workshopping models with scene extracts adopted and adapted from Top Girls, Cloud Nine, Serious Money and A Number by Caryl Churchill. These models are designed to engage with the learning needs and interests of tertiary students particularly in the current global sociopolitical context.
The initiative is supported by an empirical action research element, which envisages one of the models as a form of critical pedagogy, connecting the typical tertiary Drama Studies curriculum with outreach community experience. The second part of the research project presents a local case study in which scene extracts from Top Girls were adapted and introduced to Hong Kong secondary students as a methodological tool for community-engaged theatre workshopping. This small-scale experimental model of a community drama outreach programme was facilitated by a focus group of students from an undergraduate Drama course.
The research results reflect on how students’ existing social awareness of community cultural development and identity can be linked to the glocal construct in the way they perceive and interact with the contemporary community-oriented plays that Churchill has produced. Based on the narratives from the focus group and my participant-observation of the response from the participating community, my qualitative study makes a number of conclusions about the effect of such pedagogic methodology on students’ empowerment in learning autonomy. The model is intended to encourage tertiary students to create their own forms of theatre workshopping to share their internalized subject knowledge and personal insights with other communities outside the institutional setting. And the research expresses the significance of theatre for community as rehearsals of the anticipated tensions between citizens and institutions in the global sociopolitical context.
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Esterhuysen, Jana Maria. „’n Ondersoek na toegepaste teater as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80359.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: In this research paper an investigation into applied theatre as medium for community development in the Stellenbosch area is conducted. An initial investigation was launched to determine whether there are currently organizations in the Stellenbosch area that uses applied theatre for the purpose of community development. This investigation concluded that there are organizations currently in the Stellenbosch area that make use of community theatre, but not necessarily for the purpose of community development. After further research, it was found that there are organizations in the greater South Africa who make use of other forms of applied theatre as a medium for community development such as theatre for development and theatre-ineducation. Consequently, brief overviews of the different forms of applied theatre are given, explained and discussed under the following three categories: applied theatre in education, applied theatre in the community and applied theatre in the workplace. From this description it was determined that community theatre and theatre in education is the most appropriate forms of applied theatre for community development. An empirical study was launched to investigate existing and/or completed applied theatre projects in the Stellenbosch area as well as the greater South Africa to determine which projects have been undertaken, which forms of applied theatre has been used and what the focus and outcomes of the projects was. Interviews were conducted with specific organizations to determine how applied theatre is being applied as medium for community development. Following the existing projects and the identified forms of applied theatre that could be used for community development, it was decided to conduct and launch a theatre for development project in the Stellenbosch area. There is currently no similar theatre for development projects and the feasibility of such a project has been questioned in a practical manner in a case study. The case study was launched at a school in the Stellenbosch area where a project that deals with the importance of school attendance were undertaken with a group of Grade 7 students. After completion of the research study it has been determined that applied theatre can be used as a medium for community development in the Stellenbosch area. Although there are several challenges to face such as finance and planning associated with the execution of an applied theatre project, it is possible for such a project to be potentially successful.
AFRIKAANSE OPSOMMING: In hierdie navorsingstudie word daar ondersoek ingestel na toegepaste teater as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing. Hierdie navorsing rus op drie bene, naamlik ’n literatuurstudie, ’n empiriese ondersoek in die vorm van onderhoude en ’n gevallestudie in die vorm van ’n teater vir ontwikkeling-projek. Eerstens word ’n bondige oorsig van die verskillende vorme van toegepaste teater gegee. Die verskillende vorme word uiteengesit en bespreek onder die volgende drie kategorieë, naamlik: toegepaste teater op onderwysgebied, toegepaste teater in die gemeenskap en toegepaste teater in die werkplek. Uit hierdie omskrywings is bepaal dat teater vir ontwikkeling, gemeenskapsteater en teater-in-die-onderwys oënskynlik die mees gepaste vorme vir gemeenskapsontwikkeling is, alhoewel die begrip toegepaste teater oor die algemeen verandering van een of ander aard ten doel stel. ’n Empiriese ondersoek is geloods na bestaande en/of afgehandelde toegepaste teaterprojekte in die Stellenbosch-omgewing, sowel as die groter Suid-Afrika om te bepaal watter projekte is reeds aangepak, watter vorme van toegepaste teater gebruik word en wat die fokus en uitkomste van die projekte is. Daar is gevind dat organisasies in die Stellenbosch-omgewing wat wel teater as medium vir ontwikkeling gebruik, meestal fokus op gemeenskapsteater. Organisasies in die groter Suid-Afrika maak egter ook gebruik van ander vorme van toegepaste teater vir gemeenskapsontwikkeling, soos byvoorbeeld teater vir ontwikkeling en teater-in-die-onderwys. Na aanleiding van die bestaande projekte en die geïdentifiseerde vorme van toegepaste teater vir gemeenskapsontwikkeling is daar besluit om ’n teater vir ontwikkelings-projek in die Stellenbosch-omgewing te loods. Daar is tans geen soortgelyke teater vir ontwikkeling-projekte nie en die lewensvatbaarheid van so ’n projek is op praktiese wyse ondersoek in ’n gevallestudie. Die gevallestudie is geloods by ’n skool in die Stellenbosch-omgewing waar daar met Graad 7- leerders ’n projek aangepak is wat handel oor die belangrikheid van skoolbywoning. Na afloop van die navorsingstudie is daar bepaal dat toegepaste teater wel suksesvol as medium vir gemeenskapsontwikkeling in die Stellenbosch-omgewing gebruik kan word en in sommige gevalle reeds gebruik word. Daar is wel verskeie uitdagings, onder andere met betrekking tot finansies en beplanning, wat gepaard gaan met die uitvoering van ’n toegepaste teaterprojek. Alle aanduidings is egter dat sulke projekte ’n beduidende impak op ’n gemeenskap kan hê.
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Munday, Caitlin Ruth. „Conceptualising the drama classroom as community: a case study approach to effective learning and teaching“. Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/12867.
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This study explores the relationship between effective learning and teaching within best-practice drama classrooms. It draws on the convergence of two complementary fields: drama in education and sociocultural approaches to learning. It particularly focuses on an ensemble-based approach to drama (Neelands, 2009a) and communities of learners (Rogoff, 1994). Three secondary drama classes from two New South Wales schools participated in this research. These formed two qualitative case studies that sat within a broader ARC funded project investigating The role of arts education in academic motivation, engagement and achievement, conducted in partnership with the Australia Council for the Arts. This study found that effective drama pedagogy was best understood within the context of community. Distinct communities of learners emerged within each drama classroom. They were temporally formed and spatially located, bound together by shared relational and experiential histories. Community membership was dependent on the reciprocation of trust, respect and commitment as codified social values that encouraged social cohesion, shaped participation, and created a safe space. The preservation of these values determined the conditions for effective learning and teaching as characterised by four interrelated practices: collaboration, creativity, critique and risk-taking. Together, students engaged in a collaborative creative process that promoted democratic decision-making, and emphasised responsibility and autonomy. Drama learning was found to be multi-dimensional, oriented towards social and aesthetic understanding, and supported by a flexible and relational pedagogy that negotiated the emerging paradoxes of bounded freedom and ordered disorder indicative of classroom action and interaction. This study conceptualises the drama classroom as community, an inclusive model for understanding effective learning and teaching. The creation of such communities realises the potential for drama to enact a participatory, ensemble-based model of learning, which pursues both aesthetic and social understanding and purposes within current curriculum. In doing so it contributes to an ongoing discussion about the particular nature of classroom drama, and the significance of the arts more broadly.
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Sebestyen, John S. „Culture, Crisis, and Community: Christianity in North American Drama at the Turn of the Millennium“. Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1242080581.
Der volle Inhalt der QuelleBücher zum Thema "Communism – Drama"
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Timofeevich, Bogomolov Oleg, Petrenko Fedor Fedorovich, Shevt͡s︡ova Lilii͡a︡ Fedorovna und T͡S︡entr politicheskikh issledovaniĭ (Institut mezhdunarodnykh ėkonomicheskikh i politicheskikh issledovaniĭ), Hrsg. Rossii͡a︡--drama peremen. Moskva: In-t mezhdunar. ėkon. i polit. issledovaniĭ RAN, T͡S︡entr polit. issledovaniĭ, 1994.
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Chua, Damon. Film Chinois. New York: Samuel French, 2008.
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Bartha, Gusztáv. Jelen-lét, 1991-2009: Rendszerváltástól korszakváltásig. Budapest: Intermix, 2011.
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Vișniec, Matei. How to explain the history of communism to mental patients and other plays. London: Seagull Books, 2015.
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Cantoni, Mara. Ballata di fine millennio. Torino: Einaudi, 2000.
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Shaw, Bernard. Annajanska, the Bolshevik empress. Studio City, CA: Players Press, 2002.
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Jean-Luc, Godard. La chinoise. Port Washington, NY: Koch Lorber Films, 2008.
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Englund, George, und Stewart Stern. The ugly American. Universal City, CA: Universal, 2003.
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Inc, ebrary, Hrsg. Russia, freaks and foreigners: Three performance texts. Bristol, UK: Intellect, 2008.
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al-Razzāq, Zaynab ʻAbd. Luṭfī al-Khūlī, sījār al-Mārkisīyah wa-al-tamarrud, 1928-1999. al-Qāhirah: Muʼassasat Arwiqah lil-Dirāsāt wa-al-Tarjamah wa-al-Nashr, 2021.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Communism – Drama"
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Voerman, Gerrit. „A Drama in Three Acts: The Relations Between Communism and Social Democracy in the Netherlands Since 1945“. In Comrades and Brothers, 103–23. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003350712-11.
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Fuchs, Anne. „Devising Drama on Drama: The Community and Theatre Traditions“. In Drama on Drama, 184–95. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-25443-9_12.
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Nicholson, Helen. „Narratives of Community and Place“. In Applied Drama, 85–109. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-11129-6_5.
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Nicholson, Helen. „Community Narratives: Space, Place and Time“. In Applied Drama, 83–106. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-20469-0_5.
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Nelson, Bethany. „Power And Community In Drama“. In Key Concepts in Theatre/Drama Education, 81–85. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-332-7_13.
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Lange, Anne, und Aile Möldre. „Russian Literature in Estonia between 1918 and 1940 with Special Reference to Dostoevsky“. In Translating Russian Literature in the Global Context, 45–66. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.03.
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This chapter gives a survey of translations from Russian literature made in Estonia in 1918–40 against the backdrop of the latter nation’s cultural development. Translation is understood as a practice affected by social contingencies and cultural exchanges. As former citizens of Tsarist Russia, the older generation of Estonian intellectuals for who shaped the cultural repertoire of Estonia after independence in 1918 drew on their knowledge of Russian. The initial need for drama translations for amateur theatre groups was paralleled by interest in new developments of Russian fiction (reflecting the influence of Soviet Communism) and in translations of classic Russian authors, now part of the global literary canon. To support our argument that cultural exchange is relatively autonomous from political factors, we analyse how Dostoevsky influenced Anton Hansen Tammsaare (1878-1940), a major Estonian prose author and a translator of Dostoevsky. Tammsaare openly acknowledged Dostoevsky’s influence on the poetics of his prose. Through transculturation, the polyphonic composition of Dostoevsky’s novels resonates with aspects of Tammsaare’s pentalogy Truth and Justice. The latter’s translation of Crime and Punishment is the only Estonian version of this novel; it has been reissued repeatedly and never retranslated. The freedom of the world republic of letters, which ignore political and linguistic boundaries of nations, is manifest in Tammsaare’s decision to translate Crime and Punishment and the fact that his century-old version is still current in Estonia.
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Tailby, John. „Drama and community in South Tyrol“. In Medieval Texts and Cultures of Northern Europe, 148–60. Turnhout: Brepols Publishers, 1999. http://dx.doi.org/10.1484/m.tcne-eb.3.4823.
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Harrison, Larraine S. „An imaginary community“. In Drama and Writing Ages 5-11, 77–87. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003315742-10.
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Harrison, Larraine S. „An imaginary community“. In Drama and Writing Ages 5-11, 88–100. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003315742-11.
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Johansson, Ola. „The Social Drama of Backstage Discourse and Performance“. In Community Theatre and AIDS, 79–122. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230300439_4.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Communism – Drama"
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Takeda, Eiji. „A Migration Path to Nano-Meter Lithography: From the viewpoint of VLSIs“. In Soft X-Ray Projection Lithography. Washington, D.C.: Optica Publishing Group, 1993. http://dx.doi.org/10.1364/sxray.1993.tua.1.
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The "VLSI revolution" that is opening a new epoch in the electronics industry has made such remarkable progress that now 108 - 109 transistors can be fabricated on a single chip. VLSI microfabrication technologies are being pushed to new extremes by the DRAM community, thereby expediting research on 256 Mbit DRAMs using the 0.2 μm design rule. Giga-bit DRAMs and sophisticated ULSI processors using 0.1 μm Si-MOSFETs could possibly appear in the latter half of the 1990s. Recently, a very high speed ring oscillator has achieved 10 psec/gate for 77 K operation[1]. In the field of advanced bipolar transistors, a 64 GHz cut-off frequency has been reported[2]. These speeds are comparable to those of conventional quantum devices such as HEMTs (High electron mobility transistors)[3], JJs (Josephson junction devices)[4], and STrs (Superconducting transistors)[5] as shown in Fig. 1. In addition, device operation of 7-10 nm Si-MOSFETs (corresponding to 1-16 Tera-bit memories) [6] and single electron transistors (SET) [7] have been confirmed, which implies an increased importance for nano-meter fabrication technology. Si devices have a promising future, which will pave the way to the 21st century.
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Sunaryo, Hari. „Learning Democracy in Learning the Skill of Playing Drama Characters“. In International Conference on Community Development (ICCD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201017.064.
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Cenusa, Felicia. „Vladimir Beșleagă or about internal exile“. In Conferință științifică internațională "FILOLOGIA MODERNĂ: REALIZĂRI ŞI PERSPECTIVE ÎN CONTEXT EUROPEAN". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2023. http://dx.doi.org/10.52505/filomod.2023.17.13.
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If in Romania, during the communist period, one can speak of a literature of external exile and dissidence, then the concept of internal exile can be applied to the literature of Bessarabia, from the same period. Thus, some writers took refuge, in the happiest cases, in the professions of the book, especially in translations, others – in essayistic, parabolic, experimental or diary writings. They were all approached as forms of internal exile, undertaken by writers, thus risking that their works would not be published. Internal exile, most of the time, produced psychoses, neuroses, humiliations similar in amplitude to the drama characteristic of external exile. Namely, these manifestations of internal exile are reflected, for the most part, in the writings of Vladimir Beșleăgă, which constitute the research object of the present study.
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Anitoi, Galina. „The Character of the Transition. The Drama of the Emigrant in the Novels Fetița care se juca de-a Dumnezeu by Dan Lungu and Tötentanz sau Viața unei nopți by Claudia Partole“. In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.22.
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n this article, the author discusses the drama of the emigrant in the novels „Fetița care se juca de-a Dumnezeu” by Dan Lungu and „Tötentanz sau Viața unei nopți” by Claudia Partole, one of the hypostasis in which the character of the transition appears. The subject is approached through the prism of transitology, starting from the idea that the phenomenon of emigration is one of the secondary effects of the transition from the communist totalitarian regime to democracy. We proved that the writers manage to translate into disturbing pages the terrible, shocking trials experienced by a good part of our compatriots who went to earn a penny far from home. The novels reveal the consequences of the exodus which proved to be painful, traumatic, devastating, capable of mutilating souls, dehumanizing the being.
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Telford, Elsie, Akari Nakai Kidd und Ursula de Jong. „Beyond the 1968 Battle between Housing Commission, Victoria, and the Residential Associations: Uncovering the Ultra Positions of Melbourne Social Housing“. In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4022pplql.
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In 1968, the Housing Commission, Victoria, built a series of high-rise towers in response to an identified metropolitan planning issue: urban sprawl and the outward growth of metropolitan Melbourne. This “solution” precipitated a crisis in urban identity. The construction of the first of a series of these modern high-rise towers at Debney Park Estate, Carlton and Park Towers, South Melbourne displaced significant immigrant communities. This became the impetus for the formation of Residential Associations who perceived this project a major threat to existing cultural values pertaining to social and built heritage. This paper examines the extremely polarising events and the positions of both the Housing Commission and the Residential Associations over the course of fifteen years from 1968. The research is grounded in an historical review of government papers and statements surrounding the social housing towers, as well as scholarly articles, including information gathered by Renate Howe and the Urban Activists Project (UAP, 2003-2004). The historical review contextualises the dramatically vocal and well-publicised positions of the Residential Associations and the Housing Commission by reference to the wider social circumstances and the views of displaced community groups. Looking beyond the drama of the heated debate sparked by this crisis, the paper exposes nuances within the positions, investigates the specifics of the lesser known opinions of displaced residents and seeks to re-evaluate the influence of the towers on the establishment of an inner urban community identity.
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Midorikawa, Edson Toshimi, und Liria Matsumoto Sato. „COMMUNION: towards a cooperative strategy for high-performance memory management“. In Simpósio Brasileiro de Arquitetura de Computadores e Processamento de Alto Desempenho. Sociedade Brasileira de Computação, 1997. http://dx.doi.org/10.5753/sbac-pad.1997.22645.
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The memory system is the most critical component of modern high-performance computer systems, because of its growing inability to keep up with the processor requests. Technological trends have produced a large and growing gap between CPU speeds and DRAM speeds. Many researches have focused this memory system problem, including program optimizing techniques, data locality enhancement, hardware and software prefetching, decoupled architectures, mutithreading, speculative loads and execution. These techniques have achieved a relative suceess, but they focus only one component in the hardware or software systems. We present here a new strategy for memory management in high-performance computer systems, named COMMUNION. The basic idea behind this strategy is cooperation. We introduce some possibilities of interaction among system programs that are responsible to generate and execute application programs. So, we investigate two specific interactions: between the compiler and the operating system, and among the compiling system components. The experimental results show that it's possible to achieve improvements of about 10 times in execution time, and about 5 times in memory demand. In the interaction between compiler and operating system, named Compiler-Aided Page Replacement (CAPR), we achieved a reduction of about 10% in the space-time product, with an increase of only 0.5% in the total execution time. All these results show that it's possible to manage main memory with better efficiency than what is provided by current systems.
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Wang, Wei-Chih, San-Lin Liew, Hua-Sheng Chen, Kuang-Liang Chen und Jian-Shing Luo. „Electrical Signature Verification and Fault Localization in High-Density DRAM Device Using Atomic Force Probe“. In ISTFA 2011. ASM International, 2011. http://dx.doi.org/10.31399/asm.cp.istfa2011p0269.
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Abstract Owing to the limitations of physical failure analysis (FA) techniques and fault localization techniques, the nano-probing tool, which has both the device characterization ability as well as the necessary sensitivity to characterize the non-visible defects and marginal fails, has emerged to be a powerful tool in the FA community. This paper presents a nano-probing technique on two yield impact cases in dynamic random access memory technology. The first case is related to a die that exhibited a high pin current issue during the parametric test sequence at the early stage of our probe test. The second case is related to a column fail expanding across a shared sense amplifier (SA) circuit. By comparing the nano-probing electrical results with simulation data and wafer acceptance test data, insufficient (S/D) contact implant which causes slower p-MOS turn-on and resistive source contact that causes lower driving ability in a SA transistor issue are concluded.
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Morello, André Alain. „Au bord de l'eau, sur l'eau, dans l'eau: les expérimentations de Claudel dramaturge“. In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3089.
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Dans l'imaginaire de Paul Claudel, l'eau occupe une place éminente. Dans Cinq Grandes Odes et dans Connaissance de l'Est, le poète célèbre comme aucun autre poète cet élément qui va se trouver pleinement associé à la dimension religieuse de son œuvre. Dans son théâtre, Claudel, tout en reprenant la fonction religieuse de l'eau (rituel du baptême, dogme de la communion des saints) va donner à l'eau une fonction essentielle dans un travail de renouvellement de la dramaturgie. C'est le cas dans L'Echange qui fait de la plage le décor du drame: le personnage de Louis Laine, figure du poète, rêve de « vivre dans l'eau profonde » et de nager « comme un poisson ». Dès la première scène, il dit à Marthe qui l'écoute la jouissance qu'il éprouve en se jetant dans la mer « telle que le lait nouvellement trait ». Le Soulier de satin amplifie encore le rôle de la mer : l'œuvre dans son ensemble est une sorte de gigantesque « bateau ivre » voguant sur le « Poème de la mer ». la première journée s'ouvre sur le spectacle d'un navire démâté qui flotte au milieu de l'Océan Atlantique ; la quatrième journée, intitulée « Sous le vent des îles Baléares », trouve son unité dans cette étonnante association de scènes maritimes, comme celle de la farce des pécheurs (IV, 1), celle des « pontons » qui représente toute la Cour d'Espagne sur un Palais flottant (IV, 9), une autre scène « en pleine mer », dans laquelle Dona Sept Epées nage aux côtés de la Bouchère... C'est cette place accordée à l'eau et à la mer que nous voulons interroger, dans cette prespective d'une incroyable déstabilisation du lieu scénique.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3089