Relevant bibliographies by topics / Drama – 21st century – bibliography

Academic literature on the topic 'Drama – 21st century – bibliography'

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Published: 25 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Drama – 21st century – bibliography"

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Athenot, Éric. "Walt Whitman: A 21st-century Bibliography." Revue Française d Etudes Américaines 108, no. 2 (2006): 80. http://dx.doi.org/10.3917/rfea.108.0080.

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Hestiyani Parai, Anastasya Wahyudanti Saputri, and Lina Kartika Sari. "Development of Drama Studies Teaching Material Based on 21st Century Skills and It for Students of Indonesian Language and Literature Education Study Program, Faculty of Language and Arts, Universitas Negeri Jakarta." Aksis : Jurnal Pendidikan Bahasa dan Sastra Indonesia 6, no. 2 (December 28, 2022): 173–82. http://dx.doi.org/10.21009/aksis.060208.

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This research will develop a model of teaching materials for drama studies courses based on 21st century skills and ICT. The purpose of this research is to develop teaching materials for drama studies so that graduates of the Indonesian Language and Literature Education Study Program are able to understand drama study material according to the applicable curriculum and are able to implement it in schools. Preliminary research, first analyzing the need for teaching materials for drama studies courses for students. The results of this research are to develop and obtain teaching materials for drama studies based on 21st century skills and ICT for Indonesian language education study program students.
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Rosikh, Fahrur, M. Fathor Rohman, Isna Finurika, and Khoirun Nisa’. "Tarqiyah Maharat al-Qarn al-Hadi wa al-‘Isyrin fi Ta’lim Maharah al-Kalam ‘ala Asas al-Ta’lim al-Bina’i fi al-Jami’ah." Arabiyatuna: Jurnal Bahasa Arab 7, no. 2 November (November 17, 2023): 479. http://dx.doi.org/10.29240/jba.v7i2.8072.

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This study aimed to analyze the development of 21st century skills in the learning of constructivism-based speaking skill at Pesantren sunan drajat Lamongan. The research method used was qualitative research with the type of explanatory case study. Data collection techniques deployed observation, interviews, and documentation. The data analysis techniques consisted of data reduction, data presentation, and drawing conclusions. The results of this study indicated that constructivism-based speaking skill learning could develop students' 21st century skills. The developed 21st century skills included the skills of critical thinking, creative thinking, collaboration, and communication. Critical thinking skills were reflected in the abilities to analyze materials and learning resources, to find social facts, to choose mufrodat used in socio-drama practice, and to use Arabic grammar. Creative thinking skills were reflected in the abilities to compose drama scripts, to design drama scenarios, and to utilize the media in drama practice. Collaboration skills were reflected in the abilities to cooperate in observation activities, to cooperate in composing drama scripts, and to cooperate in drama training and practice. Lastly, communication skills were reflected in the abilities to express ideas, thoughts and feelings in Arabic, to carry out dialogues in Arabic, and to pronounce Arabic words and sentences correctly and correctly.
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Zhurcheva, Olga V. "“New drama”: Pro et contra." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 484–87. http://dx.doi.org/10.18500/1817-7115-2022-22-4-484-487.

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At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.
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Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life." Science and Technology Development Journal 18, no. 4 (December 30, 2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.

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In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.
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Sultanova, Gulizar Ahmedovna. "WAYS OF SEARCHING FOR A MODERN THEME IN THE THEATRICAL ART OF DAGESTAN." Herald of the G. Tsadasa Institute of Language, Literature and Art, no. 26 (June 4, 2021): 77–82. http://dx.doi.org/10.31029/vestiyali26/11.

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The article deals with the search for a modern theme and images in the drama and theater of the early 21st century both on the scale of the Russian theater and in the Dagestan drama. On specific examples from the practice of creative activity of the theaters of the republic for two decades of the XXI century, ways and means of solving the problem are identified.
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Epner, Luule. "Contemporary Finnish drama in Estonian Theatre in the 21st century." Interlitteraria 24, no. 2 (January 15, 2020): 380–95. http://dx.doi.org/10.12697/il.2019.24.2.9.

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After regaining independence in 1991 Estonia, like other Baltic states, went through a transition period which can be described as a return to the West, i.e. Europe. By now, Estonia has joined European community and is successfully integrated with Europe. However, in regard to the country’s cultural and political identity, the process of self-determination continues, particularly on the level of regional identity: whether the newly independent Baltic countries belong to Eastern or Northern Europe? Estonia tends to position itself among Nordic countries, primarily by reason of close historical ties and linguistic kinship with Finland. In the light of current identity processes the cultural interaction between Estonia and Finland deserves attention. This paper examines only one aspect: the reception of contemporary Finnish dramaturgy in the 21st century Estonian theatre. Finnish dramas had been staged in Estonian theatres since the end of the 19th century. However, it is noticeable that their number has significantly increased since the 2000s, and the repertoire of the major Estonian theatres contains far more new, contemporary Finnish plays than well-known classics. Plays by Leea Klemola, Sirkku Peltola, Juha Jokela, Mika Myllyaho, Pipsa Lonka and others enjoy great popularity among Estonian audiences. How do these plays represent Finnish society? How were they interpreted and received in Estonian theatre? How do stage productions of Finnish plays contribute to the construction of shared Nordic identity? The paper looks for answers to these questions.
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Leva, Bernarda, Simon Zupan, and Nastja Prajnč Kacijan. "English Studies at the Dawn of the 21st Century." ELOPE: English Language Overseas Perspectives and Enquiries 21, no. 1 (June 30, 2024): 9–12. http://dx.doi.org/10.4312/elope.21.1.9-12.

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The special issue of ELOPE (Vol. 21, No. 1, 2024), guest edited by Bernarda Leva, Simon Zupan and Nastja Prajnč Kacijan, is a collection of sixteen studies reflecting a blend of continuity and innovation in English Studies. It presents research on diverse themes such as language, literature, translation, and the pandemic's effects on education and drama, underscoring the resilience and adaptability of English Studies.
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Veselovska, Hanna. "The 21st-Century Drama and the New Reality of Social Networks." Amfiteater 9, no. 2021-2 (June 30, 2022): 234–49. http://dx.doi.org/10.51937/amfiteater-2022-1/234-249.

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The article examines the impact of social networks on modern theatre by looking at the case of drama transformation. Discussed are the peculiarities of reportage plays versus traditional plays, emphasising the various forms of so-called Facebook plays. The author shows that while Facebook plays have become a major feature of theatrical life in the 21st century, their proliferation has also revealed social networks’ negative effects on social communication. This has found its apt reflection in dramatic texts. The study concludes with an argument that although the impact of social networks on drama has of late tended to wane, the changes that have occurred in the structure of texts over the last decade or so appear to be largely irreversible.
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Anderson, Elizabeth. "Teacher education and drama: possibilities, promise, potential." Journal of the Canadian Association for Curriculum Studies 13, no. 1 (November 20, 2015): 113–37. http://dx.doi.org/10.25071/1916-4467.40243.

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Contemporary discussions about curricula, whether for schools or for higher education, come with demands for change to cope with uncertainty, unpredictability, and 21st century challenge. Core notions however of curriculum as structure for providing access to knowledge (Young, 2014), or a set of teaching and learning prescriptions (Scott, 2014) are hard to shift, yet questions of what knowledge and how is it formed are ones which should be critical for teacher education, where, as a site of higher education, decisions about that knowledge are contested (Barnett, 2015). The prospective teacher continues to negotiate tensions between knowledge of content and of curriculum, pedagogical knowledge and generic teaching skill, knowing as process and knowing in performative terms, and between shaping a role as teacher and as educator for the 21st century. This paper makes a case for the potential that an arts oriented course, specifically drama, holds for helping student teachers to conceptualise their own learning experiences within a teacher education curriculum, to better understand the facilitation of learning experiences within school and classroom curricula, and to begin to shape their teacher identity.
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Dissertations / Theses on the topic "Drama – 21st century – bibliography"

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Ong, Min Yen. "Kunqu in 21st century China : musical change and amateur practices." Thesis, SOAS, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.649379.

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Trisel, Joel B. "Small-scale Opera: History and Continuing Relevance in the 21st Century." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428438349.

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Lyssa, Alison. "Performing Australia's black and white history acts of danger in four Australian plays of the early 21st century /." Thesis, Electronic version, 2006. http://hdl.handle.net/1959.14/714.

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Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006.
Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. Bibliography: p. 199-210.
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Nimmo, Heather. "Three plays : The other woman, Banana split, Awa' the crow road ; and an essay, Writing the end." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/645.

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The Other Woman is an eighty-minute stage play which asks the question: Do women really play the political game differently? A high-flying politician can't admit to a small mistake. A woman kills herself. Does her mother want justice or revenge? Banana Split is a ninety-minute comedy for two actors which investigates life after divorce, the connections between risk and reward, and the implications of doubling (or coupling). The play asks a number of questions: Is it riskier to stay or to go? Which is the more damaging to a relationship-nostalgia for a golden age or the fantasy of a perfect future? Awa’ the Crow Road is a half-hour play for radio. Two brothers are brought to Australia from Scotland, as children. Their father tells them;' We're here. We're Australian. We're not going back.' One brother goes back 10 Scotland. never to return. The other stays in Australia, never to leave. Thirty years pass. They meet again when their father is 'awa' the crow road'. The essay, Writing the end, examines selected literary and performance theory on endings from the perspective of the playwright who must write the end but avoid 'a strangulation'. Later sections of the essay use the endings of the three plays that make up the creative project, to illustrate more specific aspects of writing the end.
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Oxley, Natasha Emma Fortescue. "Talking taboos: the personal over the political? : contemporary Polish playwriting : theme and dramatic technique in selected modern Polish plays." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:036a5a0e-aa99-40f9-b610-4a267bc1e533.

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The focus of this thesis is contemporary Polish playwriting after Poland's accession to the European Union in 2004. From a broad reading of plays by many new writers, four playwrights were selected for study on the basis of prominence and artistic merit: Pawel Demirski, Dorota Maslowska, Malgorzata Sikorska-Miszczuk and Przemys law Wojcieszek. Their plays were studied as texts and in performance, and twelve main plays became the focus of closer analysis. The thesis identifies and examines three major concurrent themes in the works of these playwrights. Remembering versus forgetting the past is discussed through the lens of selected aspects of memory studies, including Nora's lieux de mémoire, Hirsch's postmemory and Assman's mnemohistory. The playwrights are shown to share an endorsement of the de-politicisation of collective memory and to advocate a cessation of the passing down of trauma to post-war generations. The human body is highlighted as another concurrent thematic concern and is illuminated by certain tenets of Catholic doctrine as well as Merleau-Ponty's phenomenology. The playwrights' rejection of the tabooisation of the body is demonstrated and the shared notion of the body as both sentient and unifying is exemplified. Social marginalisation is examined as the final concern, with an emphasis on the notion of the 'other', particularly in relation to socio-economic status, sexuality, and religious beliefs. The plays are shown to support and promote a rejection of the myth of homogeneity in favour of openness to diversity. Major dramatic techniques are then closely examined. It is demonstrated that the plays share traits with Lehmann's theory of postdramatic theatre, including a rejection of Aristotelian unities. Key commonalities are evidenced, particularly comedy, bad language, intertextualities with the outside world, and an engagement with Polish social realities. The playwrights' approach to the spectator as a socio-political being is shown to be of paramount importance.
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王楨. "金錢、市場與意義 : 中國「宅門」電視劇的意識形態分析 = Money, market, meaning : an ideological analysis of the Chinese Zhaimen drama." HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/924.

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Green, Charles. "Polaris (a tragedy expansion pack)." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6750.

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Idrissi, Nizar. "Stephen Poliakoff: another icon of contemporary British drama." Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.

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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Lumière, Émilie. "Clio en question : le théâtre métahistorique en Espagne (1980-2010)." Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20084.

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Dans le contexte de la postmodernité, la question de l’écriture de l’histoire est devenue essentielle. « Tournant épistémologique » chez les historiens, « fiction métahistorique » chez les écrivains : cela semble témoigner d’une « conscience métahistorique » qui touche aujourd’hui les sociétés occidentales dans leur ensemble, invitant à penser l’histoire comme un palimpseste d’interprétations subjectives et contradictoires. L’Espagne, traversée par de récents conflits mémoriels, n’est pas en reste. Tout en cherchant à identifier les modalités et les enjeux de cette tendance métahistorique, cette thèse s’interroge sur la place du théâtre espagnol contemporain à l’intérieur de ce phénomène. Après voir retracé les évolutions des notions « métahistoire » et « fiction métahistorique », ce travail s’ouvre sur un premier chapitre proposant une ébauche de l’histoire de la métahistoire en Occident, étendue à l’historiographie, à l’art et au champ sociétal – limitée pour ce dernier à l’époque contemporaine. Si le phénomène métahistorique est loin d’être nouveau, la conscience métahistorique qui lui donne une force et une cohérence inédites semble se cristalliser dans le dernier tiers du xxe siècle. L’Espagne possède ses spécificités, liées notamment à l’héritage de la guerre civile et du franquisme. Ce chapitre s’achève sur un volet théorique où sont précisés des outils d’analyse pour la fiction métahistorique et une typologie (fiction métahistorique métafictionnelle ; fiction métahistorique historiographique), tout en envisageant quelques particularités du genre dramatique.L’examen, dans un second chapitre, d’une dizaine de pièces espagnoles écrites ces trente dernières années ‒ El retablo de Eldorado, Naufragios de Álvar Núñez, Lope de Aguirre, traidor et El sudario de tiza de J. Sanchis Sinisterra, ¡¡¡Tierraaaa… a… laaaa… vistaaa…!!! de M. Martínez Mediero, Yo tengo un tío en América d’A. Boadella, Retrato de gran almirante con perros de L. Riaza, Yo, maldita india… et El arquitecto y el relojero de J. López Mozo, El jardín quemado et La tortuga de Darwin de J. Mayorga, et Homenaje a los Malditos d’E. Calonge ‒ montre que le dispositif métahistorique se manifeste dans des dramaturgies variées. Ce corpus présente néanmoins une réelle unité : en écho à la préoccupation historiographique et sociétale actuelle pour l’écriture de l’histoire, il s’offre comme une manifestation artistique originale de la conscience métahistorique contemporaine, dans les particularités de l’aire espagnole. Ces textes semblent refléter par ailleurs l’affirmation progressive de la fiction métahistorique qui s’affranchit peu à peu de la fiction historique et de la métafiction. À l’heure où Clio est ramenée sur la scène des hommes, déconstruite et démythifiée, ces dramaturges n’en font pas moins acte de mémoire et offrent des espaces d’expression aux mémoires en souffrance. Résolument postmoderne, la fiction métahistorique contemporaine ne verse pas dans le nihilisme : elle démantèle les discours historiques pour mieux les comprendre ; elle les déconstruit pour proposer d’autres évocations du passé
In the context of postmodernism, history writing has become a crucial issue. Called “epistemological turn” by historians and “metahistorical fiction” by writers, such a tendency is the proof of a “metahistorical awareness” which arises nowadays in Western societies as a whole, inviting to consider history as a palimpsest of subjective and conflicting interpretations. Affected by recent memory conflicts, Spain is primarily concerned. This study wishes to identify the modalities and stakes of such metahistorical tendency while wondering about the place of contemporary Spanish drama within this phenomenon. After retracing the evolution of both notions of “metahistory” and “metahistorical fiction”, this dissertation opens on a first chapter sketching out a history of Western metahistory, extended to the historiographic, artistic and societal fields (choosing to limit the latter to the contemporary period). If the metahistorical phenomenon is not new, metahistorical awareness which provides it with an original strength and coherence seems to crystallize over the last part of the 20th century. Spain has its own specificities ‒ especially due to the legacy of the Spanish Civil War and Franco’s dictatorship. This chapter ends on a theoretical part offering analytic tools for metahistorical fiction and a typology (metafictional metahistorical fiction, historiographic metahistorical fiction), and also considers some particularities of the dramatic genre.The second chapter is the study of around ten Spanish dramas written over the past thirty years: El retablo de Eldorado, Naufragios de Álvar Núñez, Lope de Aguirre, traidor and El sudario de tiza by J. Sanchis Sinisterra, ¡¡¡Tierraaaa… a… laaaa… vistaaa…!!! by M. Martínez Mediero, Yo tengo un tío en América by A. Boadella, Retrato de gran almirante con perros by L. Riaza, Yo, maldita india… and El arquitecto y el relojero by J. López Mozo, El jardín quemado and La tortuga de Darwin by J. Mayorga, and Homenaje a los Malditos by E. Calonge. If it uses the metahistorical device through various dramaturgies, this corpus presents, however, a real unity: reminding of present-day historiographic and societal concerns in history writing, it becomes an original artistic manifestation of contemporary metahistorical awareness, exploring more closely the Spanish particularities. These texts also seem to reflect the progressive affirmation of metahistorical fiction which gradually parts from historical fiction and metafiction. As Clio is brought back to the humans’ stage, deconstructed and demystified, these playwrights do an “act of memory” and offer spaces of expression to traumatic memories. Contemporary metahistorical fiction, though definitely postmodern, is not nihilist: it dismantles historical discourses in order to better understand them; it deconstructs them in order to offer other evocations of the past
En el contexto de la posmodernidad, el tema de la escritura de la historia se ha vuelto esencial. “Giro epistemológico” para los historiadores, “ficción metahistórica” para los escritores: todo ello parece dar cuenta de una “consciencia metahistórica” que hoy toca a todas las sociedades occidentales, e invita a percibir la historia como un palimpsesto de interpretaciones subjetivas y contradictorias. España, afectada por recientes conflictos de memoria, no escapa a la regla. Esta tesis intenta identificar las modalidades y las implicaciones de esta tendencia metahistórica, analizando asimismo la posición del teatro español dentro de este fenómeno.Después de recordar las evoluciones de las nociones “metahistoria” y “ficción metahistórica”, este trabajo se abre con un primer capítulo que propone un esbozo de la historia de la metahistoria en Occidente, extendida a los campos de la historiografía, el arte y la sociedad –y limitada en este último aspecto a la época contemporánea. Si el fenómeno metahistórico no es nuevo, la consciencia metahistórica que le da una fuerza y una coherencia inéditas parecen cristalizarse en el último tercio del siglo XX. España tiene sus especificidades, estrechamente vinculadas con la herencia de la guerra civil y el franquismo. Este capítulo se cierra con una parte teórica que precisa unas herramientas para el análisis de la ficción metahistórica y una tipología (ficción metahistórica metaficcional; ficción metahistórica historiográfica), y enfoca algunas particularidades del género teatral. El examen, en un segundo capítulo, de doce dramas españoles escritos en las tres últimas décadas ‒El retablo de Eldorado, Naufragios de Álvar Núñez, Lope de Aguirre, traidor y El sudario de tiza de J. Sanchis Sinisterra, ¡¡¡Tierraaaa… a… laaaa… vistaaa…!!! de M. Martínez Mediero, Yo tengo un tío en América de A. Boadella, Retrato de gran almirante con perros de L. Riaza, Yo, maldita india… y El arquitecto y el relojero de J. López Mozo, El jardín quemado y La tortuga de Darwin de J. Mayorga, y Homenaje a los Malditos de E. Calonge‒ muestra que el dispositivo metahistórico puede manifestarse en obras muy diferentes. El corpus presenta sin embargo una fuerte unidad: aparece, conforme a la preocupación historiográfica y social actual para la escritura de la historia, como una manifestación artística original de la consciencia metahistórica contemporánea, ateniéndose a las particularidades españolas. Además, los textos parecen reflejar la afirmación progresiva de la ficción metahistórica, que poco a poco se independiza de la ficción histórica y la metaficción. Aunque llevan a Clío al escenario de los hombres, deconstruída y desmitificada, estos dramaturgos no dejan de realizar un acto de memoria y ofrecen unos espacios de expresión a las memorias negadas. Resueltamente posmoderna, la ficción metahistórica contemporánea no cede al nihilismo: deshace los discursos históricos para entenderlos mejor; los deconstruye para proponer otras evocaciones del pasado
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Faura, Sánchez Francisco Manuel. "Juan Mayorga y el teatro de la memoria en el contexto social y literario de comienzos de milenio." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668078.

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El estudio de las nuevas tendencias dramatúrgicas contemporáneas no se encuentra alejado de todo lo político y social que está gestándose en la sociedad occidental actual. Los cambios producidos en este comienzo de milenio debido, en gran parte, a las luchas de poder entre lo nuevo y lo tradicional, han originado unas luchas entre todos los ciudadanos que están más o menos vinculados al mundo de la cultura. Por este motivo, este estudio muestra todos esos cambios a través de una mirada crítica a la sociedad, no por el mero hecho de mostrarse escéptico con toda la realidad que rodea a esta época, sino por tratar de una manera dura y rigurosa los tópicos que rodean a los nuevos creadores. Para concretar estas nuevas tendencias en un solo nombre y a raíz de lo expuesto a lo largo del trabajo, la aproximación a su dramaturgia y los ensayos académicos, Juan Mayorga ha estudiado en su creación una visión crítica y filosófica de la sociedad, así como una desconfianza a las palabras y verdades establecidas a lo largo de la tradición. Juan Mayorga se ha convertido en un autor atrayente para los académicos por su lenguaje dramático y su puesta en escena. Su trabajo como dramaturgo y su reciente inclusión en la Real Academia Española le confieren un mérito lingüístico y filosófico que impregna todo su trabajo como dramaturgo. Los espectadores que asisten a sus eventos teatrales han de entrar en el juego político-teatral que él mismo propone.
The study of the new contemporary dramaturgical tendencies is not far from everything political and social which occurs in the western society. The changes produced in this beginning of the millennium due, in large part, to the clash of cultures between the new and the traditional, have led to struggles among all citizens who are linked to the culture world. For this reason, this study shows all these changes through a critical look at society, not just keeping skeptical of all this reality what surround this time, but treating in a extensive and rigorous way the topics that wraps up the new creators. To concretize these new tendencies in a single name and following the exposition throughout the work, the approach to his dramaturgy and the academic essays, Juan Mayorga has studied in his creation a critical and philosophical point of view of the society, as well as a distrust to the words and truths established throughout the tradition. Juan Mayorga has become an attractive author for academics because of his dramatic language and his staging. His work as a playwright and his recent inclusion in the Royal Spanish Academy give him a linguistic and philosophical merit that spreads out all his playwright work. The spectators who attend their theatrical events have to enter into the political-theatrical game that he proposes.
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Books on the topic "Drama – 21st century – bibliography"

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Keller, Theodore W. A 21st century American. Daly City, CA: Prismatique Publications, 1991.

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M, Garcia Claudia, and Flores Teresa A, eds. Academic librarianship in the 21st century. Hauppauge, NY: Nova Science Publishers, 2009.

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Chao, Yen-pin. Policing into the 21st century: An annotated bibliography. Aylmer, Ont: Ontario Police College, 1997.

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Shaffi, Sajid. 21st century Quranic studies in English: A bibliography. New Delhi: Viva Books, 2018.

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Weber, Myles. Middlebrow annoyances: American drama in the 21st century. Arlington, Va: Gival Press, 2003.

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Schakel, Peter J. Approaching literature in the 21st century: Fiction, poetry, drama. 2nd ed. Boston: Bedford/St. Martin's, 2008.

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ERIC Clearinghouse on Adult, Career, and Vocational Education., ed. Job search methods for the 21st century. Columbus, OH: ERIC Clearinghouse on Adult, Career, and Vocational Education, Center on Education and Training for Employment, College of Education, the Ohio State University, 1999.

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Ezkovich, Jan. The future: Science & technology enter the 21st century. Washington, D.C: Science Reference Section, Science and Technology Division, Library of Congress, 1987.

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Ezkovich, Jan. The future: Science & technology enter the 21st century. Washington, D.C: Science Reference Section, Science and Technology Division, Library of Congress, 1987.

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Ezkovich, Jan. The future: Science & technology enter the 21st century. Washington, D.C: Science Reference Section, Science and Technology Division, Library of Congress, 1987.

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Book chapters on the topic "Drama – 21st century – bibliography"

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Thesen, Thomas Paul. "Storytelling and Drama." In Composition for the 21st ½ century, 17–25. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/b22147-3.

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Afolabi, Taiwo, Stephen Ogheneruro Okpadah, and Ogah Mark Onwe. "Modern African Drama in Crisis?" In Staging 21st Century Tragedies, 121–38. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003046479-13.

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Fernández-Caparrós, Ana. "Tragic and Post-Tragic Representations of Precarity in Twenty-First-Century U.S. Drama." In Staging 21st Century Tragedies, 108–20. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003046479-12.

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Richardson, Kay P. "Dialogue and character in 21st century TV drama." In Dialogue across Media, 37–54. Amsterdam: John Benjamins Publishing Company, 2017. http://dx.doi.org/10.1075/ds.28.03ric.

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Avissar, Ariel. "“God, I Miss the Cold War”: The Imagination of Terrorism on Post 9/11 American Serial Drama." In Mediated Terrorism in the 21st Century, 79–105. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-73511-1_5.

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Höfler, Günther A. "Aposiopesen und Ellipsen." In Bewegungsszenarien der Moderne, 55–71. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-4.

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The article examines the rhetorical devices of aposiopesis (broken-off speech) and ellipsis (omission of words) in dramatic texts of the »Sturm und Drang« movement as well as in examples of 21st-century drama. The main focus is on what is spoken in the mode of ›silent language‹. The analysis of 18th-century dramatic texts (Lenz and Goethe) draws on the anthropological and poetological writings of the time, which show that the presence of the unspeakable in dramatic language is primarily a matter of the »excitation of the soul« (Herder). In contemporary drama, on the other hand, no generalisable function for the abruption of speech or the effect of standing still can be determined; the lack of movement in these dramatic texts serves to highlight alienated human relationships (Thomas Arzt) and displays existential dissolutions of meaning (Ewald Palmetshofer).
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Auspos, Patricia. "Bibliography." In Breaking Conventions, 423–42. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0318.07.

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The Webbs and the Mitchells, the two couples who were most successful in establishing a more equitable balance of marriage and career, were committed to rewriting the rules of professional life as well as married life. They founded new types of research organizations and educational institutions, applied research in new ways, and adopted collaborative leadership and cooperative ideals in the organizations they headed. These two-pronged efforts reinforced the values the Webbs and the Mitchells espoused in their work and their domestic lives in ways that strengthened both. Elsie Clews Parsons’s efforts to shape her marriage and affairs in accordance with her feminist beliefs were less successful. She had few opportunities to apply these values in the workplace, although she did try to move her colleagues in that direction. The wives in the more traditional couples -- the Palmers and the Youngs – failed to reconcile the tensions between their work roles and their domestic lives. Unable to break free from conventional gender stereotypes, Alice and Grace deferred to their husbands at home, bowing to their authority rather than asserting their own, and found multiple ways to limit the effects of their revolutionary careers on their roles as wives. What was needed to bring about major and lasting change in the marriages of this early vanguard of dual career couples was a conscious commitment to more equality in the home and the workplace, and a simultaneous assault on both fronts. A similar approach would prove critical in enabling large numbers of middle-class wives to carve out professional careers in the 21st century. It took decades of struggle before that was accomplished. From the 1920s through the 1960s, middle-class working wives and mothers wrestled with the same obstacles and challenges as these early women professionals did. In both the workplace and the home, they were bucking cultural norms that continued to define middle-class womanhood in terms of motherhood, wifehood, and homemaking, and expected women to be supportive and deferential to men. Middle-class wives who combined marriage and a professional career in these decades fell back on the same strategies that the women in this early generation utilized. A widespread assault on the patriarchal underpinnings of middle-class marriages and workplaces did not take hold until late in the 1960s. Fueled in part by Second Wave feminism, women won legislative protections and legal redress against problems that had long been treated as personal and individual, but were newly seen as structural and systemic issues. Intent on having careers, women began flooding into graduate and professional schools, married later, had smaller families, and stayed in the workforce after they had children. These changes have been as revolutionary for men as for women. Women who combine marriage and career are no longer flouting middle-class conventions; they are part of a trend that is reconfiguring middle-class culture and slowly reshaping workplace practices and domestic life. Middle-class women increasingly expect their male spouses and partners to share equally in housekeeping and childrearing, and men are doing more of these tasks than they formerly did. But women still do the bulk of the domestic work, and report that their male partners do less than the men think they do. Progress has been made, but more is needed. The five remarkable women depicted in this book – and the equally remarkable men they married – helped to pave the way for these changes. Alice, Grace, Elsie, Beatrice, and Lucy would be delighted to know that middle-class women have so fully entered public life and are no longer expected to choose between marriage and a career. They would be thrilled to see that men are taking more responsibility for rearing children and managing the home, although they might lament the loss of live-in servants. And they would undoubtedly applaud shifting notions of gender – especially standards of masculinity – that are helping to turn modern-day husbands into supportive partners and companionate spouses for accomplished women who find self-fulfillment in working outside the home.
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Jesús, Tronch. "Evolución de los criterios ecdóticos en las ediciones modernas del teatro de Shakespeare." In La edición del diálogo teatral (siglos XVI-XVII), 147–73. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-224-9.07.

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Editorial criteria in critical editions of Shakespeare’s plays have evolved from a 18th-century arbitrary eclecticism into one restricted by the editor’s knowledge of the nature and transmission of the early texts, a knowledge developed by the 20th-century New Bibliography that specially informs paleographical and bibliographical criteria. Roughly from the 21st century, these criteria have evolved into a conservatism influenced by a social view of texts, which stands on a par with the primordial criterion of reconstructing the text intended by the author. This textualism is nourished by a skepticism about the certainty the New Bibliography inspired in what editors know about the texts’ transmission.
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"Bibliography." In 21st-Century Hollywood, 191–208. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813551982-007.

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"Bibliography." In 21st-Century Statecraft, 489–588. The Lutterworth Press, 2022. http://dx.doi.org/10.2307/j.ctv2sx9g0m.18.

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Conference papers on the topic "Drama – 21st century – bibliography"

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Varvounis, Manolis. "New Methodological Orientations of Greek Folklore." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.10-2.

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In this paper, the theoretical and methodological changes that determine Greek folklore in the first two decades of the 21st century are examined. Also, I include the collaboration and the fruitful dialogue of folklore with the social anthropology in Greece, and its scientific results. The study of folk culture, as established by older folklorists, focused on cultural continuities, for reasons amply discussed in the relevant bibliography. However, the perception of cultural transformation in the area of folk culture also led to the study of a series of exemplary modern or postmodern phenomena from contemporary or modern folklore, where the correlation with the historical, social and cultural parameters now became mandatory. Therefore, the dominant concept of cultural differentiation was introduced to the fields of folklore and ethnography, too, especially in the form of the study of modernist (and, as a rule, urban) phenomena. The older forms of Greek folklore relate to the agro-livestock economy of the societies that gave birth to and ‘consumed’ them. This paper refers to Greek popular culture, both in the traditional and in modern and popular forms and expressions. In any case, ‘tradition’ constitutes the basis of folk culture events, with regards to the concepts of the symbolic functionality of ritual forms and the strategies for acquiring social prestige, where the latter is often the driving force of the various folklore events. Indeed, social prestige is often the connective link of each commune, a fact repeated up to the present, despite the changes in the traditional communes’ social base and status.
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Catana, Elisabeta simona. "E-LEARNING TOOLS AND TASKS FOR DEVELOPING THE ENGINEERING STUDENTS' READING COMPREHENSION SKILLS IN ENGLISH FOR ACADEMIC AND WORK PURPOSES." In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-228.

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Arguing for the importance of e-learning in developing the engineering students' reading comprehension skills in English for achieving proficiency for academic and work purposes in the multicultural 21st century society, this paper shows that a special focus on using e-learning tools such as e-readers and certain recommended websites plays an important role in meeting our teaching objective and in fulfilling the students' educational needs. These e-learning tools motivate and encourage the engineering students to read at least a minimal bibliography in English to enable them to successfully meet the demands for professional communication, argumentation and writing in the English language seminars in a technical university. Using e-readers and the specialized websites, including the online libraries, to read English fiction and non-fiction to advance the engineering students' knowledge of English and to develop their reading comprehension skills for the Cambridge English exams, for academic and career purposes will lead to achieving proficiency in this foreign language. Not only will these e-learning tools help the students to advance their knowledge of English, but they will also enable them to broaden their cultural and knowledge horizon, to be up-to-date with the latest societal, career changes and challenges in our society. That is why this paper will enlarge upon: 1) the importance of using e-learning tools such as e-readers and specialized websites to develop the engineering students' reading comprehenshin skills in English for achieving proficiency in this language for academic and career purposes; 2) the students' perspective on the importance of e-learning tools for developing their reading comprehension skills in English; 3) a methodological approach to developing the engineering students' reading comprehenshion skills in English using e-learning tools. Being fond of using technology for e-learning purposes, the engineering students will be motivated to use e-readers to read more recommended English texts, including fiction, non-fiction and specialized technical literature, in order to develop their reading comprehension skills in English for linguistic, academic and career purposes.
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Reports on the topic "Drama – 21st century – bibliography"

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Gibish, Jane E. Warfare in the 21st Century. A Selected Bibliography. Fort Belvoir, VA: Defense Technical Information Center, July 2003. http://dx.doi.org/10.21236/ada415802.

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Genzoli, R., and M. Gullett. Space in 21st Century Conflict: Calibrating Risks, Tailoring Strategies - An Annotated Bibliography. Office of Scientific and Technical Information (OSTI), December 2017. http://dx.doi.org/10.2172/1416491.

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Roberts, B., and J. J. Durkalec. Strengthening Deterrence for 21st Century Strategic Conflicts and Competition: Accelerating Adaptation and Integration - Annotated Bibliography. Office of Scientific and Technical Information (OSTI), November 2017. http://dx.doi.org/10.2172/1414343.

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Dreicer, M. Strategic Weapons in the 21st Century: The New Dynamics of Strategic Conflict and Competition Annotated Bibliography. Office of Scientific and Technical Information (OSTI), March 2019. http://dx.doi.org/10.2172/1635790.

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AIR FORCE ACADEMY COLORADO SPRINGS CO. China - U.S. Relations in the 21st Century: Fostering Cooperation, Preventing Conflict. Special Bibliography Series Number 91. Fort Belvoir, VA: Defense Technical Information Center, October 1996. http://dx.doi.org/10.21236/ada324465.

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