Journal articles on the topic 'Communism – Drama'
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1
A, Gurumoorthi. "Bharathidasan's Dravidian Ideology in Poetic Plays." International Research Journal of Tamil 4, S-5 (August 25, 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, no. 2 (June 25, 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, no. 2 (May 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, no. 3 (November 22, 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 (January 1, 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, no. 12 (September 21, 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, no. 4 (September 1, 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, no. 1 (March 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, no. 3 (May 5, 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, no. 29 (February 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.
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Allain, Paul. "After Grotowski – the Next Generation." New Theatre Quarterly 18, no. 1 (February 2002): 59–65. http://dx.doi.org/10.1017/s0266464x02000155.
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In NTQ62, Joanna Ostrowska reported on Grotowski's last visit to his native Poland before his death in 1999. Here, Paul Allain assesses the Grotowksi inheritance in Pontedera, Italy, which had been the base for Grotowski's research since 1986 – specifically, on the second Generazioni International Theatre Festival, held there in June 2001. Paul Allain's doctoral research on the Gardzienice company took him to Poland during the years of ferment around the fall of Communism. He is presently Senior Lecturer in Drama in the University of Kent, and was co-editor of the recent Cambridge Companion to Chekhov.
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Martonova, Andronika. "Your Communism Is Not Ours Communism’: the Contexts of Post-Totalitarian Bulgarian Cinema and Mina Mileva, Vesela Kazakova’s Disobedient Films." Balkanistic Forum 28, no. 3 (November 16, 2019): 227–49. http://dx.doi.org/10.37708/bf.swu.v28i3.13.
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The study sketches out the contexts where Bulgarian film has been developing in the three decades of transition to democracy. The problems associated with the identity crisis, insufficient communication with the national audiences, Bulgarian films’ belonging to the European audiovisual and cultural continuum and critical reflection are partly broached. The cinematic environment has changed in Bulgaria after 2010 with the coming of emerging authors, who gave this country’s filmmaking a new physiognomy. Their works are much more adequate to the globalising world, providing genre diversity and dealing with subjects easier for the audiences to identity themselves with. The plots revolving around the present day and the ramifications of the socialist era prevail. In general, Bulgarian films of the recent decade are in visible demand at international film festivals, attracting the attention of foreign film critics. Awards, however, are not necessarily passports for good reception in the homeland`s milieu. Such is the case with Mina Mileva, Vesela Kazakova’s directorial duo (Actvist 38) and their two controversially documentary films Uncle Tony, Three Fools and the Secret Service (2013) and The Beast Is Still Alive (2016). An analysis of their works shows that reverting to the subject of totalitarianism and the attempt at reaching a consensus-based memory onscreen are still risky in Bulgaria’s cultural environment. Their new full-length future film – the emigrant social comedy-drama Cat in the Wall (2019, warmly accepted and awarded abroad) - surprisingly received the national Golden Rose Debut Award 2019, but the Bulgarian critics` stays still undeservedly reserved.
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Inštitorisová, Dagmar, and Daniela Bačová. "Across Two Eras: Slovak Theatre from Communism to Independence." New Theatre Quarterly 16, no. 2 (May 2000): 163–74. http://dx.doi.org/10.1017/s0266464x00013683.
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At the cusp of the ‘eighties and ’nineties, theatre in what was soon to become the Slovak Republic had to come to terms not only with the disintegration of the communist system, but with the break-up of the former Czechoslovakia into its constituent nations. During the previous decade, the theatre had in many ways helped to undermine the decaying authoritarian regime, but now many of its practitioners found themselves disaffected by the disappointment of early ideals, and their livelihoods threatened by the loss of state funding, which had at least acknowledged the importance of theatre to the nation's cultural prestige. In this article, the authors trace the distinguishing strands of the work of major directors and writers of both the older and the younger generations, and attempt to define the changing role of theatre – not forgetting the influence of the puppet theatre tradition – as the Slovak nation seeks a renewed vitality through reclaiming its cultural past while re-defining its present. Daniela Bacova teaches English literature and drama at the Department of English and American Studies in the University of Constantine the Philosopher, Nitra, Slovakia, and is one of the editors of the journal Dedicated Space. Dagmar Institorisová works in the Institute of Literary Communication in the University of Constantine the Philosopher, and has just published her doctoral thesis on Variety of Expression in a Theatrical Work.
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Lauridsen, John T. "Bestilt arbejde." Fund og Forskning i Det Kongelige Biblioteks Samlinger 60 (January 25, 2022): 215–58. http://dx.doi.org/10.7146/fof.v60i.130498.
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John T. Lauridsen: Hot work.Changes in attitudes in the Copenhagen press between 1941 and 1943
The position of the Danish press and the behaviour of the Foreign Ministry’s presscentre during the German occupation have only been examined sporadically and inadequately.This is illustrated taking outset in Politiken’s crime correspondent, VilhelmBergstrom’s diary and articles recording two court cases involving communists in 1941and 1943. The legal proceedings in both cases were commissioned and orchestratedby the German occupation forces, using Danish courtrooms as the backdrop. In 1941,the Foreign Ministry’s press centre called on newspapers to write about the case, but in1943 the head of the centre remained silent while the drama unfolded as the Germanswanted. There was also a clear difference between the press coverage in 1941 and 1943.In 1941, the majority of the press coverage was about an international terrorist storycentred on communism as the villain, and there was no lack of violent outcomes innewspaper leaders. None of them cast a thought for the mindless contribution theywere making to the occupying forces’ anti-communist propaganda. The backdrop forthis was widespread anti-communism in Denmark.The situation had changed in 1943. It dawned on journalists that they had servedthe interests of the occupying forces in their coverage of a brutal murder committedby communists in 1936, and they wrote their reports on the 1943 case with this inmind. They were more restrained, even though the murder story in itself was juicystuff in peaceful Denmark. As one of the journalists noted, it was time to think aboutthe future, with the advance of the USSR after the German defeat at Stalingrad, thepolitical landscape could change very quickly, so it was a bad idea to have been a meremouthpiece for the occupying forces. Reflection had taken over.
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Mięsowska, Lidia. "Między postkomunizmem a postmodernizmem. Najnowszy dramat rosyjski w poszukiwaniu tożsamości kulturowej." Miscellanea Posttotalitariana Wratislaviensia 4 (April 26, 2016): 59–77. http://dx.doi.org/10.19195/2353-8546.4.6.
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Between post-communism and postmodernism. The new Russian drama in search for its cultural identity. Russian drama after 1991, suspended between memory and oblivion, attempts to process an overwhelming trauma of its own tragic history. Evgeny Grishkovets, Vladimir Sorokin, Ludmila Petrushevskaya, Alexey Shipenko, Oleg Bogayev, Vasily Sigarev, the Presnyakov brothers, Ivan Vyrypaev and others show experiences preceding and following Perestroika and demonstrate the scale of traumatic consequences of old structures disintegration as well as dangers connected with entering the area of freedom. This way Russian drama underwent all the development stages ranging from admiration for freedom to its negation, all the time without losing an interest in the internal man. Therefore criticism of the communist ideology as a kind of utopia and visions showing the risk of the rebirth of totalitarianism in Russia coexist along with the stream of consciousness depicting what is happening in the soul of a contemporary Russian. The process of self-identification of the human being that is decentralised, standardised and attached to stereotypes of mass awareness takes place within the framework of postmodernist mixture of stylistics and aesthetics, deconstruction of the reality and the language, play with culture codes, which is most fully expressed through the ongoing process of searching for cultural identity of the discussed works.Между посткоммунизмом и постмодернизмом. Современная русская драматургия в поисках культурной идентичности.Русская драматургия после 1991 года, зависшая между памятью и забвением, пытается проработать сковывающую травму своей трагической истории. Евгений Гришковец, Владимир Сорокин, Людмила Петрушевская, Алексей Шипенко, Олег Богаев, Василий Сигарев, братья Пресняковы, Иван Вырыпаев и др. показывают опыт «до» и «после» революции перестройки, демонстрируют масштаб травматических последствий распада предыдущих структур, а также опасности, сопряженные с вхождением в сферу свободы. Таким образом, драматургия в России прошла все стадии развития — от восторга до отрицания свободы, не теряя одновременно заинтересованности внутренним человеком. Отсюда критика утопического характера коммунистической идеологии или образы, указывающие на опасность возрождения тоталитаризма в России, которые сосуществуют с потоком сознания, воссоздающим то, что происходит в душе современного русского человека. Процесс самоидентификации децентрализованного, стандартного и привязанного к стереотипам массового сознания человека происходит в рамках постмодернистского смешения стилистик и эстетик, деконструкции действительности и языка, игры с культурными кодами, что наиболее полно показывает незаконченный процесс поиска культурной идентичности обсуждаемого творчества.
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Voerman, Gerrit. "A drama in three acts: The relations between communism and social democracy in the Netherlands since 1945." Journal of Communist Studies 6, no. 4 (December 1990): 103–23. http://dx.doi.org/10.1080/13523279008415057.
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Nicholson, Steve. "Bolshevism in Lancashire: British Strike Plays of the 1920s." New Theatre Quarterly 8, no. 30 (May 1992): 159–66. http://dx.doi.org/10.1017/s0266464x00006606.
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In an article in NTQ 29 (February 1992), Steve Nicholson looked at how the Russian Revolution was portrayed in the 1920s by the Conservative theatre establishment. Usually it is the Left that is accused of simplistic theatrical agitation: but in this, the second of two articles about the right-wing political theatre of the 1920s, the author shows how plays about industrial conflict and strikes within Britain demonstrated a level of crude Conservative propaganda that has tended to go unremarked. This article has been researched largely through unpublished manuscripts in the Lord Chamberlain's collection of plays in the British Library, and derives from the author's broader study of the portrayal of Communism in the British theatre between 1917 and 1945. Steve Nicholson is currently Lecturer in Drama at the Workshop Theatre of the University of Leeds.
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Buryła, Sławomir, and Jerzy Giebułtowski. "Representing the Warsaw Ghetto in Polish Literature." Polish Review 68, no. 1 (April 1, 2023): 59–74. http://dx.doi.org/10.5406/23300841.68.1.04.
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Abstract This article discusses depictions of the Warsaw ghetto in Polish poetry, prose fiction, and drama. Of all the ghettos established by the German authorities in the former Second Republic of Poland, the Warsaw ghetto is portrayed most frequently by writers. Here, representations of the Warsaw ghetto are presented in chronological order. The article covers portrayals of the Warsaw ghetto during the war, in the immediate postwar years, in the period between the 1950s and 1980s, and after the fall of communism in 1989. The article also discusses selected literary topoi related to the Warsaw ghetto. The biggest changes in the literary portrayal of the ghetto took place after 1989 and were related to the abolition of censorship, the influence of popular culture, and the emergence of writers born after the war, including representatives of the “third generation.”
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Mihalache, Alina Gabriela. "The Rhinoceros and The Regime Posthuman Bodies on Stage and Screen." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 1 (March 30, 2023): 87–102. http://dx.doi.org/10.24193/subbdrama.2023.1.04.
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"Ever since its first representation on stage, Ionesco's play Rhinoceros became a mirror to the anxieties haunting the societies that it was held up to. Back in the 1960s, it would symbolize (Neo-)Fascism and Far-Right dangers in the Western countries, while subversively pointing at Communism and Far-Left ideologies in the Central-East European cultures. The text's versatility was highly praised by the literary and theatrical criticism, and allowed for its re-enactment in shows and films produced over the globe, in the most diverse social-political contexts. This study aims to revisit some of the first play stagings from the current perspective of post-theatre, pointing out how the early post-War productions are contributing to rewriting of the performative code in the language of posthumanism and post-drama. Keywords: posthumanism, performative body, postdramatic theatre, Eugène Ionesco, Rhinoceros. "
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Heck, Dorota. "Moral Dilemmas of Poles Born in the Late Twenties: Reflections on the Drama Their Time, Short Stories, and Novels by Literary Critic Zbigniew Kubikowski." Perspektywy Kultury 26, no. 3 (October 1, 2019): 101–12. http://dx.doi.org/10.35765/pk.2019.2603.09.
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Zbigniew Kubikowski (1929-1984) was a literary critic, novelist, journalist, editor of monthly Odra in Wroclaw (Lower Silesia, Poland), and an activist of the Polish Writers’ Union. His biography seems to be representative for more or less independent intellectuals in the regime of communism. In spite of humiliation, persecutions, and invigilation he managed to preserve his ethical principles, although he was not able to achieve a full success as a man of letters. The ethics of his generation, so called “younger brothers” of war generation was founded on Polish independence and European existentialism.
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Gołaczyńska, Magdalena. "The Alternative Theatre in Poland since 1989." New Theatre Quarterly 17, no. 2 (May 2001): 186–94. http://dx.doi.org/10.1017/s0266464x00014585.
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The theatre of Eastern Europe has not always benefited as fully as might have been expected from the supposed freedoms which followed the collapse of Communism. State support for institutional theatre has been drastically reduced, while the ‘alternative’ theatre, though no longer constrained by a formal censorship, has had seriously to consider what it is now alternative to. Magdalena Gołaczyńska takes 1989 as starting point for a survey both of the framework within which alternative theatre now works, and of the three main strands that have emerged in the closing decade of the twentieth century – of companies continuing to produce socially critical work, of groups exploring experience at a more personal and existential level, and of ‘collective creators’ whose concerns are rather with pushing the boundaries of performance itself. Magdalena Gołaczyńska teaches at the University of Wroclaw and the State Academy of Drama in Cracow, and is author of a doctoral study of contemporary alternative theatre.
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Zahrawi, Samar. "Democratizing the Dramatic Text: Wannous’s Late Aesthetics and Individual Freedom." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 3–19. http://dx.doi.org/10.24093/awejtls/vol5no1.1.
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Sadallah Wannous (1941-1997), the Arab World’s most celebrated dramatist, gave up on the didactic art of the ‘theater of politicization’, in the middle of his career, in favor of a freer introspection of human psyche and passions. He spent his most prolific late years searching for new aesthetics and promoting a culture of free thinking. Abandoning his prior commitment to achieving the modern state, Arabic unity, the liberation of Palestine and the triumph of communism, he started creating individuals who are caught up in conflicting passions, loyalties and choices. However, his new themes will still betray a will to reform the many ailments in Arabic culture and politics, such as politico-religious coalitions and colonialism. This article will study the artistic and ideological transformation in Wannous’s later drama. It will also explore the later pro-democracy trends through analyzing the emerging individualism in characterization and the plurality of discourses in the plays of the later period 1989-1997, namely The Rape (1989), Historical Miniatures (1993), Miserable Dreams (1994), Rituals of Signs and Transformations (1994), and Drunken Days (1997).
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Bilțiu, Pamfil. "Folclor și istorie." Anuarul Muzeului Etnograif al Transilvaniei 29 (December 20, 2015): 59–69. http://dx.doi.org/10.47802/amet.2015.29.03.
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Based on direct field research, our investigation intends to reflect the reaction and the description made by the anonymous creator, in his oral works, of various historical events, and also reflects the creator’s representations of tumultuous episodes, dramatic attempts, and outstanding life aspects that he lived and faced. In our study we treated fragments of the anonymous creations related to the First World War, which recall moments and circumstances of the slaughter outbreak and some information reflecting the historical reality. We debated then one of the most dramatic episodes linked to the Second World War - the concentration of girls to forced labor to Germany, to replace manpower ruined by men going to war. The focus is on the tragic consequences of the lives of women who lived this episode. Regarding the tumultuous events that stirred the imagination of the people, we analyzed songs depicting the tragedy lived by Aurel Vlaicu, the great Romanian aviation pioneer. Another episode full of drama, which we analyzed in our investigation is related to the floods in 1970. It reflects how were immortalized in popular creation the dramatic consequences of that event which had affected so many people. The investigation part of our research is dedicated to some dramatic aspects of the reality of life, especially the peasants’ life during the communist regime. We paid attention to the abolition of the Greek Catholic Church, with all the consequences on both believers and priests. We analyzed more extensively the suffering and humiliation brought on the peasantry by collectivization of agriculture in mountain areas, when peasants were confiscated their entire fortune. We gave proper space to the use of folklore as a means of propaganda to in support and glorification of communism.
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Faires, Nora, John J. Bukowczyk, and Bruce Harkness. "The American Family and the Little Red Schoolhouse: Historians, Class, and the Problem of Curricular Diversity." Prospects 19 (October 1994): 25–74. http://dx.doi.org/10.1017/s0361233300005056.
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Though the development of “public history” as a professional practice and its arrival as an academic field date back only to the mid-1970s, an emphasis on the role of historians as public actors with unique societal responsibilities has punctuated the self-reflective literature issuing forth from the profession throughout much of the 20th Century. In his 1949 presidential address to the American Historical Association (AHA), Conyers Read advised that “history has to justify itself in social terms.” In a postwar world whose grand drama shifted from the defeat of fascism to the crusade against communism, Read instructed historians in their highest role, namely, “education for democracy.” “Total war, whether it be hot or cold,” Read observed, “enlists everyone and calls upon everyone to assume his part.” Read's prescription has remained a canon in the profession. In 1986, for example, AHA former president C. Vann Woodward owned that historians have “obligations to the present.” Recognizing the problematical nature of the “relationship of history to the public realm,” AHA president William E. Leuchtenburg in like manner nonetheless recently observed that “generation after generation, a substantial corps of scholars has insisted that historians should concentrate on contributing to the solution of contemporary problems.”
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Zhao, Wenyin. "The community communication of the mainstreamed TV Series." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 86–89. http://dx.doi.org/10.54097/ehss.v1i.643.
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The thematic teleplay is an important part of carrying forward the mainstream social values and constructing the socialist core value system. In the era of new media, thematic TV dramas should learn to spread with the help of community power. First of all, thematic TV dramas can eliminate the distance between audiences and thematic TV dramas by means of short video platforms and opinion leaders to expand their influence. Secondly, participatory creation and extended discussion can activate the community, expand the content and deepen the theme of TV drama communication thought. The mainstreamed TV Series show the essential characteristics and essential laws of life, but also strongly advocate the spirit of The Times and national quality, promote mainstream social values.In 2021 is the 100th anniversary of the founding of the communist party of China, the tribute of the 100th anniversary of the founding of the communist party of China major revolutionary historical theme TV series "s awakening" the thought, the grand narrative, full of life fun, characters, details metaphor infectious audiences in spirit and culture with unique technique of visual feast, representative. In the era of communization, new forms of communication appear, with changes in audiences, communication methods, communication technologies, communication environments and situations. The communication of thematic TV dramas can no longer rely solely on its own strength and traditional communication methods. This paper takes The Age of Awakening as an example to study community communication to provide new viewing paths for audiences, expand the scope of communication and deepen the communication effect.
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Čiočytė, Dalia. "The “Christening” of Ancient Baltic Religion in Kazys Bradūnas’s Poetry." Colloquia 38 (June 30, 2017): 35–50. http://dx.doi.org/10.51554/col.2017.28725.
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Baltic cultural history is marked by deep tensions between ancient religion and Christianity. These tensions are explored in Lithuanian literature, which reveals their drama and tragedy and/or “christens” the old faith by drawing connections between it and Christianity. The most distinct poetic version of this kind of “christening” is the poetry of Kazys Bradūnas (1917–2000); the author of this article discusses Bradūnas’s oeuvre through the lens of literary theology, a discipline which uses theological and aesthetic criteria to study how literature explores questions around transcendence. Bradūnas brings to light non-Christian apostolic manifestations in Baltic culture, in the pillaging and murder that took place under the guise of prostelatizing, and reveals the deep connections between the ancient Baltic and Christian world-views. If, for Bradūnas, a Christian poet, Christianity is a revealedreligion, one that has been given, he sees the old faith – an intuitive quest for the essence of humanity using only human means – as an expression of his people’s distinct character. This determination to articulate the nation’s distinct culture as a form of mentality is the clear intention of Bradūnas’s poetry. In commenting on the distinct nature of Lithuanian and Baltic culture the poet focuses on three aspects: creativity, agrarianism, and statehood.The most artistically important figure to emerge from the dialogue between the old faith and Christianity is the main character from the original mythological story of the grass snake Žilvinas – a betrayed and murdered metaphysical king. The connection between Žilvinas and Christ activates primordial Baltic cultural experience and paves the way for a Lithuanian conception of Christ. Žilvinas is an important figure in Christianity’s inculturation in Lithuania and evidence of how primordial Baltic experience enriched the reception of Christ. In making typological connections between the experience of the Crusades and the aggression of Russian communism, and searching for meaning in suffering, the poet draws on the Christian concept of suffering.
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Gojic, Jelena. "DRUŠTVENO-POLITIČKI PREOBRAŽAJ PELAGEE VLASOVE U DRAMI „MAJKA“ BERTOLTA BREHTA." Lipar, no. 71 (April 2020): 83–99. http://dx.doi.org/10.46793/lipar71.083g.
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Brecht was one of the most influential theatre practitioners, playwrights, poets and filmmakers of the 20th century. In this paper we deal with one of his dramas, which was one of his early dramatic writings and which transparently portrays Brecht’s social engagement and his affection for the Communist Party. This drama shows the basic postulates of Marxist ideology and it has received little attention in Serbian scientific literature. This paper points to Brecht’s engagement in this didactic piece, with the support of the theoretical postulates of Shaw, Sartre, Foucault and Adrienne Rich. The aim of the paper is to show the development of the main character, Pelagea Wlassowa, who is undergoing such a transformation, which is inevitably accompanied by her activation in current socio-political events
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Park, Noh-Hyun. "The Journal of Korean Drama and Theatre and Television Drama: Focusing on Quotation of Lines/Scenes in Research on Television Drama." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 1119–33. http://dx.doi.org/10.33645/cnc.2022.10.44.10.1119.
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The Journal of Korean Drama and Theatre published by the Learned Society of Korean Drama and Theatre is the most representative journal for research on Korean television dramas as a kind of drama act. The number of theses that have been gathered by a total of 75 journal series is as many as 615, which have been issued until 2020, since 1991 when it was launched. Of them, the theses on television dramas began to be initially published by the 21th series issued in 2005, and then 76 theses investigated by 35 researchers are currently published. The scenes beyond/post sheet, which appear in television dramas as image literature, become main texts, due to the genre characteristics. Lines and scenes in screens are naturally mobilized for any quotations. The current research on television dramas, however, do not give any academic guidelines regarding the quotation of lines and scenes. This paper, therefore, attempts to provide a direction of examining the current conditions of the lines and scenes quoted by research on television dramas based on 76 theses gathered in The Journal of Korean Drama and Theatre and helping both the society and the journal improve them. The measure may be largely specified as five proposals. The key point of them lies in the essence of the quotation properly certified by research, in other words, the practice of it, which make it possible to realize scholarly conversations with academic value.
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Chehonadskih, Maria. "The Communist Drama of Individuation in Lev Vygotsky." Stasis 5, no. 2 (2017): 110–35. http://dx.doi.org/10.33280/2310-3817-2017-5-2-110-135.
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Baumrin, Seth. "Ketmanship in Opole: Jerzy Grotowski and the Price of Artistic Freedom." TDR/The Drama Review 53, no. 4 (November 2009): 49–77. http://dx.doi.org/10.1162/dram.2009.53.4.49.
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Jerzy Grotowski—a member of the Communist Party in Poland—gamed the system in order to protect his theatre and gain for it a unique place of relative liberty. This, of course, did not win Grotowski friends among the emerging anti-Communist movement inside Poland.
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Dotsenko, Elena. "Bucking the postdramatic: Epic plays by Tom Stoppard." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 60–81. http://dx.doi.org/10.18522/2415-8852-2020-1-60-81.
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Tom Stoppard’s drama has been one of the eminent and internationally known phenomena of contemporary theatre for several decades. Nevertheless, the polemics are still relevant whether Stoppard’s plays belong to postmodern or postdramatic or any other current trend. The article regards Stoppard’s theatrical experiment as a postmodern one. Moreover, the use and even development of postmodern techniques are noted not only as far as his early plays of the 1960s and 70s are concerned, but as a characteristic of the later dramas by Stoppard. Recently the playwright has created three major epic plays characterized by a deep understanding of historical context: “The Coast of Utopia”, “Rock’n’Roll”, and “Leopoldstadt”. The author of the article considers two later plays as original pieces, having in common some autobiographical details. “Rock’n’Roll” presents the years from 1968 to 1990 in Czechoslovakia and compares the interpretation of “freedom” in the West and that under the Communist regime. “Leopoldstadt” is a play about Austrian Jews and the Holocaust. The article analyzes the artistic devices of representation of the cultural and historical background in each of the plays.
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Żygadło-Czopnik, Dorota. "Backlash, czyli czego obawiają się twórcy najnowszej dramaturgii czeskiej." Miscellanea Posttotalitariana Wratislaviensia 4 (April 26, 2016): 37–47. http://dx.doi.org/10.19195/2353-8546.4.4.
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Backlash, or what are the makers of the new Czech drama afraid of. In November 1989 various theater groups participated in overthrowing the totalitarian regime by improvising discussion forums. After the so-called Velvet Revolution, it was the writer and playwright Václav Havel who became head of state while another playwright, Milan Uhde, became the Minister of Culture and Speaker of the Parliament. Nowadays the Czech theater scene is immensely diversified. We can divide the authors who began writing their dramas after 1989 into two generational groups. On the one hand, there are authors born in 1960–1970, who entered the post-totalitarian times already as mature adults and who at the moment have long experience in their artistic work as playwrights, actors or directors it is quite common that those people write and direct their own work. On the other, there is a younger group which is made of people who were still children during the communist era, and their artistic activity was shaped and took place in most recent years. We are talking about a generation of artists who share a common experience of totalitarianism in childhood and adolescence, as well as the difficult transition between the two systems: communist and capitalist.Backlash neboli čeho se bojí tvůrci nejnovější české dramaturgie. V listopadu 1989 se v České republice divadelní soubory pořádáním improvizovaných diskuzních fór účastnily svržení totalitního režimu. Po tzv. sametové revoluci stanul v čele státu spisovatel a dramaturg Václav Havel a další dramaturg, Milan Uhde, se stal ministrem kultury a předsedou Poslanecké sněmovny. V současnosti je česká divadelní scéna nesmírně rozrůzněná. Jména autorů, kteří začali svá umělecká díla psát po roce 1989, můžeme rozdělit do dvou generačních skupin. Na jedné straně máme autory narozené v letech 1960–1970, kteří do posttotalitních časů vstoupili už jako dospělí lidé a v současnosti za sebou mají většinou dlouholeté zkušenosti v umělecké práci, nebo v roli autorů dramat, herců případně režisérů často se jedná o osoby, které svoje kusy píší a zároveň režírují. Skupinu mladých umělců tvoří lidé divadla, kteří v době komunismu byli ještě dětmi, a jejich umělecká činnost se formuje a připadá na nedávná léta. Je tu řeč o generaci umělců, které spojuje společná zkušenost totalitarismu v dětství a raném mládí a také obtížný přechod mezi dvěma systémy: komunistickým a kapitalistickým.
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Rim, Hoon. "A Study on Watching Motivation and Watching Satisfaction of OTT: Focusing on Korean Original Drama." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 131–45. http://dx.doi.org/10.33645/cnc.2022.10.44.10.131.
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This study empirically analyzed the watching motivation and satisfaction of college students who showed active media use behavior targeting OTT Korean original dramas, which are attracting attention as OTT core contents. In addition, based on the analysis, we presented implications for the direction of production activation and development to improve the watching satisfaction of OTT Korean original dramas. First, as a result of analyzing the motivation factors for OTT Korean original drama watching by college students, four factor structures were identified: 'companion motive', 'use convenience motive', 'social usefulness motive', and 'learning/information motive'. Second, as a result of analyzing the influence of four factors of OTT Korean original drama watching motivation on watching satisfaction, 'use convenience motive' and 'learning/information motive' were found to be statistically significant, and 'use convenience motive' was the most has been found to have a great influence.
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Baluch, Wojciech. "„Bez pamięci” — od doświadczenia pokoleniowego po różnorodności wspomnień na wybranych przykładach dramatów i filmów polskich." Miscellanea Posttotalitariana Wratislaviensia 4 (April 26, 2016): 17–23. http://dx.doi.org/10.19195/2353-8546.4.2.
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„Without memory” — from a generational experience to diversity of memories based on selected examples of Polish dramas and films.This article outlines the perspective of the development of Polish drama after 1989, when the totalitarian system was replaced with the ideas of liberal democracy. The main terms that define the scope of issues under investigation and the selection of dramas include ‘memory’ and ‘generational experience.’The reflections begin with stating the inadequacy of previous cultural models and discourses with reference to the new socio-political reality that began in Poland after 1989. Further on, selected dramas of the most prominent playwrights of the 20th century: Tadeusz Różewicz and Sławomir Mrożek are analysed. Based on their example it is proven that the language of Polish drama from the communist period actually transfers ancient linguistic forms from the pre-war period and from the 19th century. However, in the 1990s the old masters could no longer find a language which would render the experience of people living in the period of transformation. It is achieved only a decade after the system transformation in Poland when at the beginning of the 21st century an anthology of young Polish drama entitled Porno generation is published. It marks the beginning of an artistic attitude that is characterised with a close contact of a play’s subjects with the presented reality. This attitude leads to one of the branches of modern dramaturgy based on a free usage and combination of various styles and elements of both literature and culture while simultaneously revealing personal engagement in the reality created in artistic activity. I will discuss dramas by Dorota Masłowska and selected Polish films of the last decade: All that I love, Yuma, and Motor as representative examples of this type of artistic activity.«Без памяти» — от поколенческого опыта до разнообразия воспоминаний на избранных примерах польских пьес и фильмов.Статья представляет тенденции развития польской драматургии после 1991 года, когда тоталитарная система была заменена идеями либеральной демократии. В подборе произведений автор руководствовался содержащимися в них проблемами «памяти» и «поколенческого опыта». Рассуждения начинаются с обоснования неадекватности существующих раньше культурных моделей и дискурсов по отношению к новой общественно-политической действительности, которая началась в Польше после 1989 года. Затем анализируются произведения выдающихся польских драматургов XX века: Тадеуша Ружевича и Словомира Мрожка. На их примере автор доказывает, что язык польских пьес коммунистического периода фактически перенимает устаревшие языковые формы довоенного периода и XIX века. Однако в 90-х гг. старые мастера не были уже в состоянии найти язык, который описывал бы опыт людей, живущих в период трансформации. Этого удалось достигнуть другим литераторам лишь спустя десятилетие после политической трансформации в Польше, когда в начале XXI века вышла антология молодой польской драматургии — Pokolenie porno. Эта публикация является символическим началом творческой позиции, отличающейся близкой связью тематики пьес с представляемой в них действительностью. Такая творческая позиция ведет к одной из ветвей современной драматургии, которая основывается на свободном использовании и соединении стилей и элементов литературы и культуры, и в то же время отображает личное активное участие в действительности, созданной в рамках творческой деятельности. В тексте обсуждаются пьесы Дороты Масловской и избранные польские фильмы последнего десятилетия Wszystko, co kocham, Yuma и Motor как репрезентативные примеры такого типа творческой деятельности.
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Chandra, Elizabeth. "From Sensation to Oblivion: Boven Digoel in Sino-Malay Novels." Bijdragen tot de Taal-, Land- en Volkenkunde 169, no. 2-3 (2013): 244–78. http://dx.doi.org/10.1163/22134379-12340026.
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Abstract The so-called ‘Sino-Malay literature’ has often been characterized as literary publications that were commercial and very rarely political. This essay however draws attention to three novels written by prominent Indies Chinese authors on the colonial internment camp for communist activists, Boven Digoel. Written in three different decades, Kwee Tek Hoay’s Drama di Boven Digoel (Drama in Boven Digoel, 1928-1932), Liem Khing Hoo’s Merah (Red, 1937), and Njoo Cheong Seng’s Taufan gila (Mad typhoon, 1950) reflect not only individual journeys of Digoel-bound activists, but also the political landscapes in which they were written.
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Son, Jeung-sang. "Student Drama of 1950s and Anti-Communist National Theater of Yu Chijin －Focusing on Interuniversity Drama Contest." Korean Language and Literature 192 (September 30, 2020): 425–57. http://dx.doi.org/10.31889/kll.2020.09.192.425.
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Garner, Stanton B. "History in the Year Two: Trevor Griffiths's Danton." New Theatre Quarterly 11, no. 44 (November 1995): 333–41. http://dx.doi.org/10.1017/s0266464x00009313.
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For British dramatists nurtured in and by the hopes for socialism which characterized the 'sixties and the 'seventies, the Thatcherite period – with the eclipse of a fatally flawed communist system as its international dimension – demanded not only new thinking, but at least the consideration of a new dramaturgy. Stanton B. Garner, Jr., here explores the ways in which one of the most consistently committed of contemporary writers, Trevor Griffiths, confronts in Hope in the Year Two, his play about the death of the French Revolutionary Danton, the dilemma not only of the revolutionary hero, but of the dramatist confronted with attacks upon the concept of history itself, whether from the gurus of post-modernism or of the New Right. Stanton B. Garner, Jr., teaches modern drama in the English Department at the University of Tennessee. He is the author of The Absent Voice: Narrative Comprehension in the Theater (1989) and Bodied Spaces: Phenomenology and Performance in Contemporary Drama (1994). His current research interests include post-Cold War British drama.
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Bidaud, Samuel. "Some Reflexions on Jan Čep’s Short Stories in Exile." Literatūra 63, no. 4 (December 30, 2021): 8–24. http://dx.doi.org/10.15388/litera.2021.4.1.
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This article focuses on the six short stories that the Czech writer Jan Čep wrote during his exile in France, when he fled the new Czechoslovak communist regime after 1948. These texts are as follows: Les Tziganes [The Gypsies], which was written in French and published in the journal Terre humaine in 1952, Tajemství Kláry Bendové [The Secret of Klára Benda], Před zavřenými dveřmi [In Front of the Closed Door], Ostrov Ré [Ré Island], Květnové dni [Days of May], and Tři pocestní [Three Pilgrims]. These short stories are interesting for several reasons. First of all, they present a changing point in Čep’s themes, for they take place during the more recent events – the Second World War and the arrival to power of the communist regime, – and evoke a humanity who has been destroyed. The existential drama of the individual, which had previously been predominant in Čep’s work, is now extended to the entire human community. Fear has separated people from each other, and every genuine personal relation has become impossible. What’s more, language is incapable of bringing together human beings. True communication implies a form of silence, in which God can speak to the heart of man, and where the possibility of communion with the others still exists. At the same time, Čep’s characters have to face this recent history, which obliges them to make a choice, in particular as far as exile is concerned. As a consequence, a new form of anguish appears, and is superimposed on Čep’s original one. It gives rise to a feeling of guilt over those who stayed in Czechoslovakia, especially his mother, but also confronts Čep with the inability to write, since he doesn’t manage to find a publisher in France and can no longer write in Czech. As a “pilgrim on the earth”, he endures his suffering and the suffering of the world united to Christ, in communion with Him. Eventually, these later short stories represent a transition for Čep, and reveal that he accepts, as painful as this decision can be, to abandon fiction and to engage in the genre of essay, above all for Radio Free Europe. He will thus manage to give hope to people who suffer behind the Iron Curtain in Czechoslovakia, while expressing his intimate concerns in a very personal way.
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Keane, Michael. "Ethics and Pragmatism: China's Television Producers Confront the Cultural Market." Media International Australia 89, no. 1 (November 1998): 75–86. http://dx.doi.org/10.1177/1329878x9808900110.
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Since its beginnings in 1958, television in China has been hailed as the ‘mouthpiece of the Party, the government and the people’. The rapid expansion of the television industry since deregulation policies were introduced in 1983 has significantly compticated this relationship. New doctrines of accounlability and supply–demand economics have been prescribed as blueprints for the success of cultural institutions now forced to survive without state funding. Whilst the Chinese Communist Party (CCP) is anxious to see the television industry ‘stand on its own feet’ and respond to the challenges of market economics, there are also fears that its role as ‘mouthpiece’ might be diminished. The Communist Party has thus sought to curb the excesses of what it considers ‘unhealthy influences’, while at the same time learning from the successes of the market. This paper examines the emergence of Chinese ‘popular’ serial drama in the 1990s and the manner in which this form of television has been co-opted by the Communist Party as a means of inculcating new modes of ethical behaviour appropriate to a modern commodity economy.
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McSteen, Kerstin. "Ethics Thru Drama." Journal of Hospice & Palliative Nursing 9, no. 2 (March 2007): 64–65. http://dx.doi.org/10.1097/01.njh.0000263532.45295.530.
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Krouk, Dean. "The Montage Rhetoric of Nordahl Grieg’s Interwar Drama." Humanities 7, no. 4 (October 15, 2018): 99. http://dx.doi.org/10.3390/h7040099.
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This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater.
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Reid, Donald. "Pièces de résistance: The Dramas of Resistance and Torture in the Work of Jorge Semprún." French Forum 48, no. 1 (2023): 81–92. http://dx.doi.org/10.1353/frf.2023.a932969.
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Abstract: Contemporary Western society has taken its ideas and representations of resistance from the French resistance in World War II. But these are more often evoked than elucidated. Participation in the resistance in France and at Buchenwald and in the Communist underground in Franco's Spain shaped Jorge Semprún. Analysis of what he took from these experiences is revealing. Semprún began with resistance as an existential choice that challenged individuals' identities, a question he explored in the resistance of Jews and, in his case, of a bourgeois man of letters in the making. Semprún came to see that to resist meant to join with others, to put one's life in their hands and to take responsibility for their lives. This is why the torture of resisters to make them reveal information about others is so central to his thought on resistance. When Semprún left the Communist party, he developed his ideas on torture and resistance. After the war, the Communists tortured some of his Communist concentration camp comrades, not to obtain information, but to get those being tortured to learn what they wanted them to recite in show trials. Semprún came to feel that as a former Communist, he developed a resistance to references to the fraternity at the heart of resistance when they were was used as an element of control by the Communist party. He wrote in an effort to spread that immunity.
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BERRY, MARK. "RICHARD WAGNER AND THE POLITICS OF MUSIC-DRAMA." Historical Journal 47, no. 3 (September 2004): 663–83. http://dx.doi.org/10.1017/s0018246x04003905.
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This article outlines Richard Wagner's conception of music-drama during the period in which he formulated his intentions for composition of the epic Ring of the Nibelung. Attempting to renew rather than to restore the communal, political nature of Attic tragedy, he wished to transform that model from celebration of the Athenian political order into a savage critique of the contemporary political order, indeed into an incitement to and celebration of revolution. Wagner was determined to restore the dignity of art, a dignity he believed to have been lost in the pursuit of base, commercial considerations; but this determination should not be confused with the idea of art for art's sake. Instead, he wished to renew art in a socialist, even communist, sense as the paradigm of free, productive activity. The direct revolutionary experience of participation in the Dresden uprising of 1849 bolstered his conviction of the necessity of such a transformation. With his magnum opus, Wagner wrote, he intended to ‘make clear to the men of the Revolution the meaning of that Revolution, in its noblest sense’.
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Gross, Gerry. "A Palpable Hit: A Study of the Impact of Reuben Ship's the Investigator." Theatre Research in Canada 10, no. 2 (January 1989): 152–66. http://dx.doi.org/10.3138/tric.10.2.152.
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Reuben Ship (1915-1975), a Canadian scriptwriter working in Hollywood during the fifties, was blacklisted after being accused of being a Communist by the House Committee on Un-American Activities in 1951 and deported to Canada. In 1954, The Investigator, Ship's radio drama satirizing McCarthyism, was broadcast by the CBC. This study uses relevant files of the U.S. Department of Justice and the CBC, as well as other materials from the period, to assess the impact of the work in Canada and the USA.
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ΚΑΤΣΟΥΔΑΣ, ΚΩΝΣΤΑΝΤΙΝΟΣ. "ΜΙΑ ΔΙΚΤΑΤΟΡΙΑ ΠΟΥ ΔΕΝ ΕΙΝΑΙ ΔΙΚΤΑΤΟΡΙΑ. ΟΙ ΙΣΠΑΝΟΙ ΕΘΝΙΚΙΣΤΕΣ ΚΑΙ Η 4η ΑΥΓΟΥΣΤΟΥ." Μνήμων 26 (January 1, 2004): 157. http://dx.doi.org/10.12681/mnimon.837.
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<p>Konstantinos Katsoudas, "<em>A Dictatorship that is not a Dictatorship". Spanish Nationalists and the 4th of August</em></p> <p>The Spanish Civil War convulsed the international public opinion and prompted most foreign governments to take measures or even intervene in the conflict. Greek entanglement either in the form of smuggling war materiel or the participation of Greek volunteers in the International Brigades has already been investigated. However, little is known about a second dimension of this internationalization of the war: the peculiar forms that the antagonism between the two belligerent camps in foreign countries took. This paper, based mainly on Spanish archival sources, discusses some aspects of the activity developed in Greece by Franco's nationalists and the way Francoist diplomats and emissaries perceived the nature of an apparently similar regime, such as the dictatorship led by general Metaxas. The main objectives of the Francoist foreign policy were to avoid any escalation of the Spanish civil war into a world conflict, to secure international assistance for the right-wing forces and to undermine the legitimacy of the legal Republican government. In Greece, an informal diplomatic civil war broke out since Francoists occupied the Spanish Legation in Athens and Republicans took over the Consulate in Thessaloniki. The Francoists combined public and undercover activity: they worked hard to achieve an official recognition of their <em>Estado Nuevo, </em>while at the same time created rings of espionage and channels of anticommunist propaganda. The reason of their partial breakthroughs was that, contrary to their Republican enemies, the Nationalists enjoyed support by a significant part of the Greek political world, which was ideologically identified with their struggle. Francoist anti-communism had some interesting implications for Greek politics. An important issue was the Francoist effort to reveal a supposed Moscow-based conspiracy against Spain and Greece, both considered as hotbeds of revolution in the Mediterranean, in order to justify both Franco's extermination campaign and Metaxas' coup. Although this effort was based on fraudulent documents, forged by an anti-Bolshevik international organization, it became the cornerstone of Francoist and Metaxist propaganda. General Metaxas was the only European dictator to invoke the Spanish Civil War as a <em>raison d'etre </em>of his regime and often warned against the repetition of Spanish-like drama on Greek soil. Nevertheless he did not approve of Franco's methods and preferred Dr. Salazar's Portugal as an institutional model closer to his vision. For Spanish nationalist observers this was a sign of weakness. They interpreted events in Greece through the disfiguring mirror of their own historic experience: thus, although they never called in question Metaxas' authoritarian motives, the 4th of August regime was considered too mild and soft compared to Francoism (whose combativeness and fanaticism, as they suggested, the Greek General should have imitated); it reminded them the dictatorship founded in Spain by General Primo de Rivera in 1920s, whose inadequacy paved the way for the advent of the Republic and the emergence of sociopolitical radicalism. Incidents of the following years, as Greece moved towards a civil confrontation, seemed to strengthen their views.</p>
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Bennett, Claire, and Nancy Beckerman. "The Drama of Discharge." Social Work in Health Care 11, no. 3 (July 3, 1986): 1–12. http://dx.doi.org/10.1300/j010v11n03_01.
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Haryati, Isti. "PEREMPUAN MANDIRI DALAM NOVEL BUMI MANUSIA KARYA PRAMUDYA ANANTA TOER DAN DRAMA MUTTER COURAGE UND IHRE KINDER KARYA BERTOLT BRECHT." Adabiyyāt: Jurnal Bahasa dan Sastra 4, no. 1 (June 5, 2020): 66. http://dx.doi.org/10.14421/ajbs.2020.04104.
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The purpose of this study to describe and reveal the comparation of the independence of female characters in Pramoedya Ananta Toer’s Bumi Manusia and in Bertolt Brecht’s Mutter Courage und Ihre Kinder. This research is a qualitative descriptive study using the comparative literature method. This research will describe and comprehend the comparison of independent female characters in the Pramudya Ananta Toer’s Bumi Manusia and in Brecht’s Mutter Courage und Ihre Kinder by Bertolt Brecht. The results showed that from the comparison of two independent female character in two literary works, namely novel Bumi Manusia and drama Mutter Courage und Ihre Kinder, it can be concluded that there are many similarities of the two independent female characters despite the difference. Equation (affinity) also showed that the two works were created by different authors are also mutually influence. Drama Mutter Courage und Ihre Kinder by Bertolt Brecht created in 1938 possibly affect Bumi Manusia novel created by Pramoedya Ananta Toer in 1975. Moreover, both authors are communist and they created the two literary works while in exile.
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Safari, Safari. "PRINCIPAL'S PERCEPTIONS OF STUDENTS' USE OF BORN BY PISA 2018." Akademika 10, no. 02 (December 12, 2021): 315–34. http://dx.doi.org/10.34005/akademika.v10i02.1555.
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The main objective of this study is to answer the following questions. Is there a relationship between the principal's perception of the use of liquor by students with sports teams, school drama / music groups, and band / choir groups based on PISA 2018. The research method used is quantitative method. The data in this study uses PISA 2018 data that has been released to the public and has been permitted to be used for research development purposes. The population of this study were principals in schools where 15-year-old students were studying in 2018, while the sample was principals in schools where 15-year-old students took PISA tests in 80 countries. The reason for choosing the sample was the principal in the school where the student was taking the 2018 PISA test. The data in this study were in the form of a questionnaire that was answered by principals in 80 countries, namely 20811 principals from 80 countries. Based on the results of the multiple regression analysis, the results show that there is a relationship between the principal's perception of the use of alcohol by students with sports teams, school drama / music groups, and band / choir groups based on PISA 2018 (P <0.000). The reliability of the instrument is 1.00 higher than the reliability of the person = 0.04. The conclusion is that statistically there is a relationship between the principal's perception of the use of alcohol by students with sports teams, school drama / music groups, and band / choir groups based on PISA 2018. These results indicate that the lower the use of alcohol and drugs in students at school, the more successful the school sports team, school drama/music group, and school band/choir group or vice versa.
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Olga, Volosatykh. "Folklore in Mykhailo Starytsky’s plays as a ground for the formation of Ukrainian music and drama theater." Aspects of Historical Musicology 26, no. 26 (July 22, 2022): 7–21. http://dx.doi.org/10.34064/khnum2-26.01.
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Statement of the problem. The study and preservation of folk traditions played an important role for the Ukrainian society in the process of forming national consciousness in the second half of the XIX century. It was from that time that the theater movement, whose soul M. Starytsky was, became active, and ethnography significantly influenced both the artist’s theatrical activity and the development of the Ukrainian music and drama theater in general. The article examines ethnographic elements in M. Starytsky’s plays with the purpose to find out the role of folklore in his work as a factor that influenced the formation of the Ukrainian music and drama theater. The scientific and practical novelty of the paper are conditioned by a lack of the separate comprehensive study devoted to ethnographic component as a part of M. Starytsky’s drama legacy and a basic factor of establishing of the Ukrainian musical and drama theater. The general scientific methods of researching, such as analysis, synthesis, generalization, allowed to process a significant amount of material, to draw theoretical conclusions. The principles of objectivity, historicism and systematization made it possible to analyze historical processes in all their contradictions and diversity. The interdisciplinary approach permitted to attract the results of scientific research from the areas of music, theater, and art history. Main attention is paid to the analysis of the playwright’s use of descriptions of rituals, customs, traditions, folk morals of Ukrainians, as well as the examples brining into play the small folk genres, phraseology. The results of the study. The origins, features and functions of ethnography in M. Starytsky’s works are determined, in particular, it is proved that the playwright’s use of the descriptions of Christian and pre-Christian rites was primarily aimed at a true image of traditional Ukrainian society, where the ancient rituals, games, musical and dramatic actions were an important component. It is shown how the rites of the winter and summer cycles of the folk calendar, which are most saturated with various bright rituals and customs, are reflected in various ways in the writer’s plays. It is confirmed that ethnography in M. Starytsky’s work had a positive effect on the formation of the Ukrainian professional theater as musical and dramatic. Conclusions. The folklore-ethnography, in particular calendar-ritual, component is one of the important expressive means, which gives M. Starytsky’s works picturesqueness, deepens the drama, strengthens the characters, makes their stage embodiment more vivid and at the same time emphasizes the peculiarities of the social age: traditions are still quite strong, however, something new is gradually entering the life of Ukrainian society. Customs and rituals embodied on drama scene become the basis for the progress of Ukrainian theater as a musical-dramatic: reflecting the characteristic features of the people’s soul, the folklore elements play an extremely important role, both in terms of reproducing the features of social lives, and from the viewpoint of preserving the national identity.
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Ramírez Morcillo, Roberto Carlos. "La lucha guerrillera en la obra de José Herrera Petere: „Cumbres de Extremadura y Carpio de Tajo”." Estudios Hispánicos 25 (May 9, 2018): 85–95. http://dx.doi.org/10.19195/2084-2546.25.9.
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The guerrilla struggle in the work of José Herrera Petere: Cumbres de Extremadura and Carpio de TajoThe main objective of the article is to understand the roots of compromise literature in condition of war and exile in the writing of Spanish author José Herrera Petere Guadalajara, 1909–Geneva, 1977 during Spanish War and Franco dictatorship. The analysis, conducted from cultural studies and literary historiography perspectives, is based on two books: Cumbres de Extremadura and Carpio de Tajo and their social, cultural and political contexts. Therefore Cumbres de Extremadura, considered to be his best novel, shows Petere’s committed writing on anti-fascists guerrilla and idealistic approach to the communist party. This novel stage adaptation, drama Carpio de Tajo, also shows the value of guerillas fight against fascism, but also represents the solitude and ideological breakdown of his exile. In a sort, social, cultural and political contexts of these books demonstrate how strong was the attraction of Spanish intellectuals as Herrera Petere to communist ideas making a radical transformation from surrealism to social realistic writing.