Academic literature on the topic 'Drama – Political aspects'
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Journal articles on the topic "Drama – Political aspects"
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HUTSON, LORNA. "Forensic Aspects of Renaissance Mimesis." Representations 94, no. 1 (2006): 80–109. http://dx.doi.org/10.1525/rep.2006.94.1.80.
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ABSTRACT Current approaches to Renaissance drama, rejecting the older idea of mimesis as likeness to an essential ““nature,”” have also rejected the assumption that Shakespeare's drama is especially mimetic. This article argues that these approaches neglect the contribution of narrative coherence or plot tomimesis and shows that a judicial conception of narrative underlies the mimesis of neoclassical Renaissance drama, including Shakespeare. Mimetic readings of Shakespeare may thus be appropriately legalistic responses to an evidentially based conception of plot.
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Ahmad Rind, Dr Ayaz, Hafiz Muhammad Fiaz, and Shams Zoha Ali. "URDU-20 The Beginning of Saraiki Drama." Al-Aijaz Research Journal of Islamic Studies & Humanities 5, no. 3 (October 24, 2021): 219–28. http://dx.doi.org/10.53575/urdu.v5.03(21).219-228.
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Primarily the paper deals with the beginning, origin and evolution of Saraiki Drama. Drama is one of the important tools of expression in the society and it reflects the socio-cultural and political aspects of the society since from the earlier time of the human history. The term drama started from the ancient Greece and it travelled in the entire world. It highlights the different social aspects humanity through a practical role rather than theoretical point of view. In this area of Indus civilization Drama started with the settlement of Ariyans. Saraiki Drama is also an old tradition and we find it here as other area of the humanity. This research explores and highlights the as the above mention topic Saraiki Drama its origin and evolution in different periods.
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Binder, Werner. "The drama of politics." Thesis Eleven 142, no. 1 (September 3, 2017): 112–29. http://dx.doi.org/10.1177/0725513617727904.
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The concept of social performance is a major theoretical innovation of the strong program in cultural sociology, championed by Jeffrey C. Alexander. This article offers a critical assessment of Alexander’s last four monographs on political performances with the explicit aim of contributing to the future development of the performance approach. After an outline of Alexander’s theory of performance, I continue to discuss his book-length empirical contributions, highlighting the innovations introduced by each study. Confronting Alexander’s research strategies with his theoretical framework, I propose a recalibration of his ‘liberal’ sociology of performance, bringing ‘conservative’ aspects of political culture back in, first of all particularity and historicity. This entails a rethinking of performance effects in terms of ‘resonances’ attuned to particular audiences and a deeper hermeneutic engagement with specific historical backgrounds of collective representations in order to overcome the one-sidedness of Alexander’s constructivist approach.
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Engelstad, Audun. "Watching Politics." Nordicom Review 29, no. 2 (November 1, 2008): 309–24. http://dx.doi.org/10.1515/nor-2017-0193.
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Abstract What can fictional television drama tell us about politics? Are political events foremost related to the personal crises and victories of the on-screen characters, or can the events reveal some insights about the decision-making process itself? Much of the writing on popular culture sees the representation of politics in film and television as predominately concerned with how political aspects are played out on an individual level. Yet the critical interest in the successful television series The West Wing praises how the series gives insights into a wide range of political issues, and its depiction of the daily work of the presidential staff. The present article discusses ways of representing (fictional) political events and political issues in serialized television drama, as found in The West Wing, At the King’s Table and The Crown Princess.
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Judd, Ellen R. "Dramatic Conflict: Between State and Market in the Cultural Production of Theatre in Rural China." Culture 16, no. 2 (November 23, 2021): 65–83. http://dx.doi.org/10.7202/1083957ar.
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"Dramatic Conflict" explores contemporary changes in the conditions of production of Chinese drama by focusing on the relation between state and market orientations at the core of the creative practice of state drama troupes. The article does so through utilizing the work of Bourdieu on fields of cultural production. The data are derived from fieldwork with state drama troupes on tour in the countryside in Fujian province in 1993 and 1994. Attention is given to the political economy of the organization of state drama troupes and their commercialized conditions of performance for rural communities, and also to the repertoire and ritual aspects of rural performance. The article argues that grounded state power remains central to the practice of dramatic production in China, but operates through market relations inserted into the heart of cultural production by state cultural policy.
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Vermeulen, Julien. "Wole Soyinka. Het Profiel van een Nobelprijswinnaar." Afrika Focus 3, no. 1-2 (January 12, 1987): 123–46. http://dx.doi.org/10.1163/2031356x-0030102007.
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It is always difficult to define exactly why a particular author has been awarded the Nobel Prize for Literature. This approach will deal with four different aspects which may have contributed to Wole Soyinka’s award. It cannot be denied that Soyinka is the author of an extensive and richly varied work, which has been appreciated by critics the world over. Especially the satirical qualities of his style have been praised on many occasions. But we have to focus our attention on two other important aspects. We can only achieve a full understanding of Soyinka's dramas when we interpret them against the background of Yoruba drama and Yoruba cultural tradition. And we can only appreciate Soyinka's work if we pay attention to the social context in which it is situated. This political commitment, as well as the international reputation Soyinka has helped to create as a director and an actor, are essential elements that have contributed to this Nobel Prize award.
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Bickis, Heidi. "Expanding the Margins of Our Narrative: A Review." Canadian Theatre Review 125 (January 2006): 124–28. http://dx.doi.org/10.3138/ctr.125.022.
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The anthologies and plays reviewed here offer some exciting possibilities as to how theatre can deal with tragic historical events, interrogate fixed identities, open up new narratives and challenge audiences to look at Canadian theatre and Canada in a different way. Although the plays vary in subject and style, all, in one way or another, are indicative of how Canadian theatre is being influenced by what Northrop Frye refers to as “a post-national consciousness,” a notion Damiano Pietropaolo uses in his preface to Where Is Here? The Drama of Immigration. In this new collection, Pietropaolo has anthologized twelve original radio dramas commissioned by CBC’s national radio drama program, Sunday Showcase. The plays featured tell a wealth of different stories on the theme of immigration, all of which draw attention to the way place informs the immigrant experience and identity. A Terrible Truth, a two-volume anthology of Holocaust drama compiled by Irene Watts, which includes a significant Canadian representation, raises questions about how, and even if, theatre should respond to a tragedy as incomprehensible as the Holocaust. Contextualized in Kertzer’s thorough introduction, the varying plays featured in these two volumes touch on many different aspects of the Holocaust and challenge the audience with questions that seem unanswerable. In The Plum Tree, Mitch Miyagawa confronts the past in this play about the effects of the forced internment on several generations of a Japanese-Canadian family. Lastly, in China Doll, Marjorie Chan uses the tradition of foot-binding to bring to life the story of a young girl caught in the social and political changes taking place in early-twentieth-century China.
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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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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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Suyadi, Suyadi. "LAKON BANGSAWAN SUMATRA UTARA, TINJAUAN SINTAKTIKA." MEDAN MAKNA: Jurnal Ilmu Kebahasaan dan Kesastraan 17, no. 2 (December 3, 2019): 180. http://dx.doi.org/10.26499/mm.v17i2.2140.
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The performance of drama bangsawan not only carries social, economic, and political missions. The role of drama bangsawan is increasingly important and strategic in organizing the life of the nation, state, and society. In addition to playing a role to explore the cultural and artistic values that we have, royal drama can also play a role in encouraging the realization of complete human development, which also means not only teaching material/physical, but also very useful to order the mental and spiritual of every human being. This paper presents the syntactic aspects of the drama bangsawan in North Sumatra. The syntactic aspect which is part of Charles Morris's semiotic theory explores the nature and pattern of stories of aristocratic plays. This review succeeded in discovering the existence of the aristocratic theater in North Sumatra and its shape patterns. This folk theater originally took place among the aristocrats in the Serdang Sultanate and eventually became the property of most people. The aristocratic form or concept of the show was maintained even though it was no longer played at the Palace, as the palaces in the former North Sumatra Residency after the Social Revolution collapsed. This theater should be inherited as a non-fine cultural form belonging to North Sumatra.
Dissertations / Theses on the topic "Drama – Political aspects"
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Ntsane, Ntsane Steve. "The dual world metaphor and the 'struggle' in selected South African and African films (1948 to 1996)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53628.
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Thesis (MA)--Stellenbosch University, 2003.ENGLISH ABSTRACT: The terminology used in segregationist discourse that South Africa is a combination of 'first world' and 'third world' elements has been appropriated from an international discourse about problems of world-wide socio-economic development. The terms are used to describe the sophisticated metropolitan areas inhabited by highly developed whites and simple, backward, isolated, rural regions occupied by undeveloped or underdeveloped blacks. However, in South Africa this dual world metaphor, which has socio-political implications that have brought great misfortune to blacks, was institutionalised by apartheid, with the consequences that blacks have expressed their resistance in what became known as the 'struggle' against the dualist system. Selected South African and African films whose themes have a bearing on such a socio-economic system are explored in this thesis. A supplementary exploration of films dealing with the theme of the 'struggle', which has become a metaphor for the 'generations of resistance', has been undertaken by means ofa detailed analysis. The interpretation of 'development' in this thesis finds a link betweeen the dualist paradigm, the perpetuation of poverty and the migratory labour system. The peculiar relationship which the 'struggle' has had with the cultures of black people, in which there is a mutual influence between the 'struggle' and the nature of these cultures, is explored in the relevant films. However, this thesis offers no solutions, but exposes a VICIOUS system which IS threatening to gain world ascendency.
AFRIKAANSE OPSOMMING: Die terminologie gebruik in die segregasie-diskoers tot die effek dat Suid-Afrika 'n kombinasie van 'Eerste Wêreld' en 'Derde Wêreld' elemente is, is oorgeneem uit 'n internasionale diskoers wat handeloor wêreld-wye sosio-ekonomiese ontwikkeling. Dié terme word gebruik om die gesofistikeerde metropolitaanse areas bewoon deur hoogsontwikkelde blankes en eenvoudige, agterlike, geïsoleerde, landelike streke beset deur onder- of on-ontwikkelde swartes te beskryf. Maar in Suid-Afrika is hierdie dubbelwêreld metafoor - met die sosio-politiese implikasies daarvan wat tot groot ellende vir swartes aanleiding gegee het - deur Apartheid geïnstitusionaliseer, met die gevolg dat swartes hul weerstand uitgedruk het in wat bekend geword het as die 'struggle' teen dierdie dualistiese sisteem. 'n Keur van films uit Suid-Afrika en die res van Afrika, die tema's waarvan betrekking het op hierdie sosio-ekonomiese sisteem, word ondersoek in hierdie skripsie. 'n Bykomstige ondersoek na films wat handeloor die tematiek van die 'struggle', wat metafories geword het vir die 'generasie van weerstand', is by wyse van 'n meer gedetaileerde analise uitgevoer. Die interpretasie van 'ontwikkeling' in hierdie skripsie ontbloot 'n verband tussen die dualistiese sisteem, die voortsetting van armoede en die sisteem van trekardbeid. Die besonderse manier wat die 'struggle' met die kulture van swart mense verhou, waarin daar 'n wedersydse beïnvloeding tussen die 'struggle' en die aard van die kulture plaasvind, word ondersoek in die relevante films. Hierdie skripsie bied egter geen oplossings nie, maar ontmasker eerder 'n wrede sisteem wat dreig tot wêreld-oorheersing.
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Morelos, Ronaldo. "Symbols and power in the theatre of the oppressed." Thesis, Queensland University of Technology, 1999.
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Augusto Boal developed Theatre of the Oppressed as a way of using the symbolic language of the dramatic arts in the examination of power relations in both the personal and
social contexts. Boal understood that symbolic realities directly influence empirical reality and that drama, as an art form that employs the narrative and the event, serves as a powerful interface between symbols and actuality. In the dramatic process, the creation and the environment from which it emerges are inevitably transformed in the process of enactment. These transformations manifest in the context of power relations - in the context of the receptor's ability to make decisions and to engage in actions, and the communicator's ability to influence the receptor's opinions and behaviour. This thesis will examine two different
practices in which symbolic realities have been utilised in the context of human relations of power. Primarily, this thesis examines the theory and practice of Theatre of the Oppressed as it has developed. Additional(v, Theatre of the Oppressed will be examined in comparison with another body of theory and practice - one grounded in the martial and political fields. The similarities and differences between the two practices will be used as a way of elaborating
upon the objectives and methods of Theatre of the Oppressed, and as a way of examining the overall practice of 'cultural activism'. This thesis will look at the work of Augusto Boal from 1965 to 1998, and the body of his work known as Theatre of the Oppressed. Also examined will be the work of Edward Geary Lansdale from 1950 to 1983, chiefly his work in the Philippines and Vietnam. One is a theatre worker, a writer, director, theorist and politician.
The other retired as a major general in the US Air Force, a renowned intelligence operative and expert. This thesis will argue that they are working in the same field, albeit at different points in spectrums of material resources and ideology. They are both cultural activists. This
thesis will examine the way these two practitioners have used the narrative and the event, the myth and the ritual, to colour the canvas of cultures. Cultural activism is the orchestration of narratives and events. Cultural activists work with the symbolic in order to influence the actual.
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SILVA, Francisco José Chaves da. "A educação político-estética da periferia de Fortaleza: reflexões sobre a cultura do olhar." www.teses.ufc.br, 2007. http://www.repositorio.ufc.br/handle/riufc/3174.
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SILVA, Francisco José Chaves da. A educação político-estética da periferia de Fortaleza: reflexões sobre a cultura do olhar. 2007. 292f. Dissertação (Mestrado em Educação) – Universidade Federal do Ceará, Faculdade de Educação, Programa de Pós-Graduação em Educação Brasileira, Fortaleza-CE, 2007.Submitted by Maria Josineide Góis (josineide@ufc.br) on 2012-07-10T14:53:10Z No. of bitstreams: 1 2007_Dis_FJCSILVA.pdf: 5850089 bytes, checksum: e4d53d8c38dc414ce7b08578845c7255 (MD5)
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This research work can be identified as a group of efforts that seeks to make known, to register and to turn public, as the education political-aesthetic of the Fortaleza periphery is constituted, located in the community Poço da Draga; that is known pejoratively as " Favela do Baixa-Pau", has in its backdrop some reflections on the culture of the glance. Residents in the mentioned Community, come to the society and they are seen by her, in the construction attempt for belonging, trying to place this Community in the context of a discussion on periphery and culture; for so much, it tries to bound the theme in the salience of the dynamics sociocultural Fortaleza contemporary. Another subject that this research investigates is the referred Community's residents' resistance, understanding the struggles with the public and private powers, as well as the process of segregation of the segregation, pertinent to the context of " existent poverty" inside of the own Community. This way, we have chosen four sceneries for our inquiry: the school (the classroom, the union, the bathrooms, the corridors), place of the ideas and of the ideals. the house (the architectural construction, the pieces of furniture and the utensils, the prints on the walls, etc),a safe place for the poor people. the street (the leads, the spaces interdicted in the city – incasrs and autdoors funk parties and the shopping malls). the transitory home for all of us; as well as the slum the home of the huts,. And, the body (clothes, seasonings, tattoos, scars, " piercins"), this vehicle of our geo-political-cultural journey.
Este trabalho de pesquisa pode ser identificado como um conjunto de esforços que visa levantar, registrar e tornar público, como se constitui a Educação Político-Estético da Periferia de Fortaleza, situado na Comunidade Poço da Draga; que é pejorativamente conhecida como “Favela do Baixa-Pau”, e tem como pano de fundo algumas reflexões sobre a cultura do olhar, objetivando investigar o modo o qual os sujeitos da periferia de Fortaleza, residentes na citada Comunidade, vêm a sociedade e são vistos por ela, na tentativa de construção da pertença, procurando situar esta Comunidade no contexto de uma discussão sobre periferia e cultura; para tanto, procura-se circunscrever o tema no bojo da dinâmica sociocultural contemporânea de Fortaleza. Outra questão que este trabalho de pesquisa busca investigar é a resistência dos moradores da referida Comunidade, compreendendo os enfrentamentos com os poderes públicos e privado, bem como o processo de segregação da segregação, pertinente ao contexto de “favelização” existente dentro da própria Comunidade. Deste modo, elegemos quatro cenários para compor o campo de atuação da nossa busca investigativa que foram: a escola (a sala de aula, o grêmio, os banheiros, os corredores), lugar das idéias e dos ideais. A casa (a construção arquitetônica, os móveis e os utensílios, as estampas das paredes´, etc.), lugar que para as pessoas pobres é o porto seguro da família. A rua (os grafites, os espaços interditados na cidade – o dentro e o fora, os bailes funks e os shoppings centers.), a morada transitória de todos nós; assim como a favela é a morada definitiva dos barracos. E os corpos (roupas, adereços, tatuagens, cicatrizes, “piercins”), este veículo de nossa viagem geo-político-cultural.
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Bile, Sembo-Backonly Anicette Irène. "De la réforme esthétique à la réflexion sociopolitique : une lecture des drames de Louis-Sébastien Mercier." Paris 3, 2008. http://www.theses.fr/2008PA030069.
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Louis-Sébastien Mercier (1740-1814) est un artisan du drame. Sa participation à la réflexion esthétique a été couronnée par une vaste production théâtrale. Tout en reposant sur les grands textes théoriques de l’auteur, le présent travail privilégie les drames, pour lire les orientations de la réforme dramatique menée par Mercier. Il s’agit de suivre la pensée de celui qui parle de l’écrivain « flagellateur du vice », « chantre de la vertu », afin d’analyser les moyens dramatiques et dramaturgiques par lesquels la réforme esthétique aboutit, dans ses drames, à une réflexion sur la transformation de la société. Drames bourgeois, drames héroïques ou pièces nationales, et drames historiques sont analysés ensemble, pour voir comment toutes ces catégories rendent compte du pouvoir donné au théâtre, et permettent de comprendre l’idéal littéraire, politique et social de Mercier. La première partie procède à la mise en place. Elle s’attache non seulement à parcourir les grandes idées de réforme soutenues par Mercier, mais aussi à présenter le répertoire choisi. Il s’en dégage une conception particulière de la représentation des conditions, qui constitue finalement la matrice de la réflexion sociopolitique que les deuxième et troisième parties révèlent à travers des tableaux, des figures, des discoursLouis-Sébastien Mercier (1740-1814) is a craftsman of the drama. Its participation in the aesthetic reflexion was crowned by a vast theatrical production. While resting on the large theoretical texts of the author, this work privileges the dramas, to read the orientations of the dramatic reform which it carried out. It is a question of following the thought of Mercier who speaks about the writer “flagellator of vice”, “cantor of the virtue”, in order to analyze the dramatic and dramaturgic means by which the esthetic reform leads, in its dramas, with a thought on the transformation of the society. Middle-class dramas, heroic dramas or national plays, and historical dramas are analyzed together, to see how all these categories account for the capacity given to the theater, and make it possible to understand the Mercier’s literary, political and social ideal. The first part makes for the installation. It not only sticks to traverse the great ideas of reform supported by Mercier, but also to present the selected repertory. It releases a particular conception of the representation of the conditions, which constitutes finally the matrix of the sociopolitic reflexion that the second and the third parts reveal through paintings, figures of characters, speeches
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Gray, Richard James. "French radio drama from the interwar to the postwar period (1922-1973)." Thesis, 2006. http://hdl.handle.net/2152/2495.
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Apotieri-Abdulai, Oluwadamilola. "An exploration of aspects of the South African Bill of Rights through applied drama amongst young adults (care givers) at Rena Le Lona Creative Centre for Children, Johannesburg South Africa." Thesis, 2016. http://hdl.handle.net/10539/19666.
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A research report submitted to the Drama for Life division of Wits School of Arts, Faculty of Humanities, for the award of the degree of Masters in Applied Drama at University of the Witwatersrand, 2015This research report evaluates an exploration of how Applied Drama methods can aid the pedagogy of Human Rights and encourage an attitude of responsibility towards human rights among young adult caregivers at the Rena la Lona Creative Centre in Soweto, South Africa. Human Rights are basic standards which inform the standard of living among people so that they live in dignity. In the context of this study, Human rights education through Applied Drama methods is the means through which people are empowered and are given a sense for responsibility. The study consisted of the use of Applied Drama methods to articulate the education of equality and Human rights. This was done through a practice-based research framework wherein the research is informed by collective practice and also relies on theoretical findings. The first chapter articulates the background and justification of study. Chapter two focuses on the literature and methodology that inform the study. Chapter three explores the research findings through an analysis of the methods used and the learning derived from the practice. Chapter four concludes with the reflection around the research results. The conclusion asserts that the explored Applied Drama methods can be used as a tool for holistic education of the South African Bill of Rights within an informal education setting such as the Rena la Lona Creative Centre.
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Oliveira, Campoy Juliana de. "Framing the presidency : presidential depictions on Fox's fictional drama 24." Thesis, 2014. http://hdl.handle.net/1805/5754.
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Indiana University-Purdue University Indianapolis (IUPUI)Framing theory is one of the most used theories in the discussion of media effects on how people make sense of issues, especially in the political environment. Although it is majorly used for the discussion of news media, framing theory can also be applied in other areas surrounding media production. This thesis uses this theory to discuss how presidents are framed in fiction and implications of race and gender in the assessment of presidential characters by analyzing Fox’s fictional drama 24. Although at first the show seems to bring new options for the presidency, the analysis points Presidents Palmer and Taylor as unfit for office and President Logan as unethical and power-hungry. Following Entman’s (1993) process for analyzing frames in media, embedded white male hegemony was identified in the show. As the show presented a postfeminist and postracial world, it continued to frame femininity and blackness as the opposite to effective executive leadership. Further, white masculinity was associated with power, ambition and ultimately corruption. As other races and gender were pointed as unfit, the status quo was questioned as being corrupt. The show both increases the cynicism that people may develop against politics and damages a more proper consideration of women and people of color to be elected president.
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García-Martín, Elena. "Negotiating Golden Age tradition since the Spanish Second Republic: performing national, political and social identities." Thesis, 2004. http://hdl.handle.net/2152/2555.
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Arjomand, Minou. "Theatre on Trial: Staging Postwar Justice in the United States and Germany." Thesis, 2013. https://doi.org/10.7916/D8VM4BK8.
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This dissertation studies the interchange between political theatre and postwar political trials. I argue that to an extraordinary extent, theatre history in this period is inextricable from trial history. Through close archival study of mid-century theatre productions including Bertolt Brecht's 1954 production of "The Caucasian Chalk Circle" and the fifteen simultaneous premiere productions of Peter Weiss's "The Investigation" in 1965, I show how directors and playwrights looked to legal trials in order to develop and articulate theories of epic and documentary theatre, and how this new theatre in turn sought to effect justice in ways that trials alone could not.
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Van, der Merwe Anna Susanna Petronella. "Postkolonialiteit in die twintigste- en een-en-twintigste-eeuse Afrikaanse drama met klem op die na-sestigers." Thesis, 2003. http://hdl.handle.net/10500/1219.
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Text in AfrikaansIn this thesis the term post-colonialism in the Afrikaans drama is investigated, focussing on the post-sixties. The term post-colonialism is difficult to define. Not only are theories of post-colonialism in a state of continuous flux and shifting emphasis, but as a result of different colonial dominations, separate identities have been constructed in South-Africa; so that defining the terms colonial, post colonial and post-colonial proves to be even more problematic. The purpose of this study is to determine to what extent the Afrikaans drama fits into these discourses. The basic point of departure is the fact that post-colonialism played a considerable role in the development of the Afrikaans drama, at the same time providing a more varied scope. The research covers several aspects of post-colonialism in Afrikaans drama; each dealt with in a separate chapter. A multitude of perspectives are featured within the broader discourse in order to obtain multiple norms and standards in a phase of self-criticism. The focus falls mainly on themes and not on performance aspects. New perspectives on issues such as canon texts, silence, hero-worship, the portrayal of woman, patriarchy, and neo-colonialism are presented (chapter 1). In chapter 2 focus falls on the period before 1960, and notably the question of nationalism (associated with apartheid) and the portrayal of the Afrikaner. The literary canon, forms of violence and the position of the super-Afrikaner are viewed in a new light during the re-writing of post-colonial history and the resulting paradigm shifts after 1960. Renewed emphasis is placed on discourse concerning land (chapter 3). Contrasting concepts regarding race, class, language, gender and religion are reconsidered in order to contribute towards the heterogeneous nature of post-colonialism (chapter 4). The function of theatre is to re-evaluate in the context of a post-1994 democratic system. Texts now focus especially on empowerment, re-discovery and re-ordering of history, reconciliation, inter-cultural contact and a post-apartheid syndrome (chapter 5). Anti-hegemonic resistance in Afrikaans literature since the sixties has confronted writers with the challenge of depicting or creating a larger post-colonial reality through their texts.
Afrikaans & Theory of Literature
D. Litt. et Phil. (Afrikaans)
Books on the topic "Drama – Political aspects"
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Umukoro, Simon Obikpeko. Drama and politics in Nigeria. Ibadan: Kraft Books, 1994.
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Graham, Holderness, ed. The politics of theatre and drama. London: Macmillan, 1992.
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Dahl, Mary Karen. Political violence in drama: Classical models, contemporary variations. Ann Arbor, Mich: UMI Research Press, 1987.
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Beth, Rose Mary, ed. Disorder and the drama. Evanston, [Ill.]: Northwestern University Press, 1990.
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Siederer, Leon Trahtemberg. Educación peruana: Un drama en ocho actos. Lima: IPAE, 1993.
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Campos, Aidê Fátima de. O drama da educação profissional em Mato Grosso: 1995-2002. Brasília: EdUFMT, 2006.
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Exeter), International Conference on Researching Drama and Theatre in Education (5th 2005 University of. Drama as social intervention. Concord, ON: Captus University Publications, 2006.
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Goldman, Emma. The social significance of modern drama. New York, NY: Applause Theatre Book Publishers, 1987.
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Dahl, Mary Karen. Political violence in drama: Classical models, contemporary variations. USA: UMI Research, 1988.
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Noak, Bettina. Politische Auffassungen im niederländischen Drama des 17. Jahrhunderts. Münster: Waxmann, 2002.
Find full textBook chapters on the topic "Drama – Political aspects"
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Lange, Anne, and Aile Möldre. "Russian Literature in Estonia between 1918 and 1940 with Special Reference to Dostoevsky." In Translating Russian Literature in the Global Context, 45–66. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.03.
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This chapter gives a survey of translations from Russian literature made in Estonia in 1918–40 against the backdrop of the latter nation’s cultural development. Translation is understood as a practice affected by social contingencies and cultural exchanges. As former citizens of Tsarist Russia, the older generation of Estonian intellectuals for who shaped the cultural repertoire of Estonia after independence in 1918 drew on their knowledge of Russian. The initial need for drama translations for amateur theatre groups was paralleled by interest in new developments of Russian fiction (reflecting the influence of Soviet Communism) and in translations of classic Russian authors, now part of the global literary canon. To support our argument that cultural exchange is relatively autonomous from political factors, we analyse how Dostoevsky influenced Anton Hansen Tammsaare (1878-1940), a major Estonian prose author and a translator of Dostoevsky. Tammsaare openly acknowledged Dostoevsky’s influence on the poetics of his prose. Through transculturation, the polyphonic composition of Dostoevsky’s novels resonates with aspects of Tammsaare’s pentalogy Truth and Justice. The latter’s translation of Crime and Punishment is the only Estonian version of this novel; it has been reissued repeatedly and never retranslated. The freedom of the world republic of letters, which ignore political and linguistic boundaries of nations, is manifest in Tammsaare’s decision to translate Crime and Punishment and the fact that his century-old version is still current in Estonia.
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Clare, Janet. "Acts of oblivion: reframing drama, 1649–65." In From Republic to Restoration. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9780719089688.003.0008.
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This chapter challenges conventional and critically resilient scholarly periodization of theatre in which 1660 is seen as inaugurating innovative theatre practice. It demonstrates that the reframing of the drama by William Davenant and Richard Flecknoe during the 1650s left a legacy to the Restoration, a legacy that in texts of the 1660s Davenant and Flecknoe attempted to obviate. Theatre historians have been subsequently reluctant to acknowledge continuities in dramatic practice and theatre production. This chapter argues that the influence of the drama of the 1650s was wide-ranging. Reformed aesthetics, the scenic stage, the female performer, political satire and the representation of love and honour in new world contexts, all aspects of the production of Commonwealth drama, are variously reconstituted in plays of the Restoration stage.
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Wilson, Katherine C. "Melodrama Remediated." In Advances in Human and Social Aspects of Technology, 190–208. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch010.
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This chapter reconsiders some tenets of Genette's insightful framework for analyzing paratexts, by examining the transformation of paratexts on one kind of published play—a cheaper, nineteenth-century, English-language “Acting Edition”—after remediation into digital form for new purposes: not for producing theatre, but for studying old drama. Invoking Aiken's Uncle Tom's Cabin and Dion Boucicault plays as examples of general patterns, the author first fill in gaps in the inventory of print paratexts, delineating a species of theatrical paratext different from the literary paratexts spotlighted by Genette, that, together with the publisher's commercial communications, referred away from the single author or drama and rendered the publication into a hybrid literary-practical commodity. Moving to the twenty-first century, the chapter touches briefly on the pre-digital academic publishing formats, print anthologies and facsimile microform, which involved paratextual and market practices variously inherited by digital successors. While acknowledging the diverse array of digitized playbooks, the chapter concentrates on the proprietary database Literature Online produced by the Chadwyck-Healey division of a conglomerate corporation ProQuest, couching the remediated play paratexts within shifts in global capitalism. These for-profit paratexts partly reveal their political economy basis in fusion with the ideologies of the academic market and the materiality of their medium, including a new species of partly visible protocols that the author calls actuating marks. Overall, the chapter uses old melodrama to open new views of the performances of paratexts across textual media and embedded in political economy.
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Díaz-Zambrana, Rosana. "Gothic Memory and Ghostly Aesthetics: Post Mortem as a Horror Film." In ReFocus: The Films of Pablo Larraín, 113–30. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448284.003.0006.
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During the last decade, the expansion and popularity of horror film productions worldwide have simultaneously soared in countries like Chile where the horror genre was formerly either unprecedented or a rarity. This symptomatic shift responds to the new demands of the global market and the mass-media consumer. Although recent examples of Chilean horror cinema follow the standard traits, devices, and motifs of global horror, at the same time, those film productions adapt their narratives to a national specificity by incorporating cultural practices, economic tensions, and political debates enrooted in the country’s social reality and historical past. Even though productions that depict graphic cruelty and psychological and physical torment within a political context such as La noche los lápices or Garaje Olimpo are usually considered “political dramas,” this chapter argues that Post mortem by Pablo Larraín could be understood under the rubric of horror film despite being classified a drama. In many aspects, Post mortem utilizes the haunting phenomenon as a filmic narrative but also exploits spatial, symbolic, and visual effects associated with the horror genre film tradition to denounce the nation’s traumatic past.
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Garden, Alison. "Saint Casement." In The Literary Afterlives of Roger Casement, 1899-2016, 105–28. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621815.003.0005.
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This chapter explores Casement’s afterlives in drama, arguing that the intermedial recycling of various aspects of Casement’s life, legacy and politics continue to fascinate dramatists. The first play discussed is George Bernard Shaw’s Saint Joan (1923) and, reading Shaw’s play alongside copious archival sources, this chapter seeks to assess the extent of the relationship - political, historical and imaginative - between Shaw and Casement. David Rudkin’s radio play, Cries from Casement as His Bones are Brought to Dublin, uses the power of voice and accent to eruditely and creatively stage Casement’s contradictory and evolving sense of identity. Finally, this chapter explicates how Martin McDonagh’s use of Casement in The Lieutenant of Inishmore (2001) is glancing but powerful, testifying to the power that Irish history can continue to hold on contemporary politics, even if it is misunderstood and misplaced.
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Hardie, Alison. "Ruan Dacheng in Context." In The Many Faces of Ruan Dacheng, 4–44. Hong Kong University Press, 2022. http://dx.doi.org/10.5790/hongkong/9789888754076.003.0002.
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Placing Ruan Dacheng in the socio-economic, cultural, and political context of his time, this chapter outlines late-Ming developments in concepts of identity and authenticity, in drama and performance, in poetry and literary criticism, and in interest in travel and the exotic, as well as aspects of social change, including the rise of political factionalism, the expansion of publishing, and increased gentry interest in Buddhism. By showing how Ruan’s life and work related to these trends, it is argued that Ruan is both a more typical late-Ming literatus than has usually been acknowledged and also a highly original writer whose work deserves wider appreciation. The chapter includes a discussion of the reliability of sources for the life and work of Ruan, and indicates how attitudes towards him have changed over time.
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Dimitrova, Diana. "Rethinking Cultural Identity." In Cultural Identity in Hindi Plays, 17—C2.N66. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192869067.003.0002.
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Abstract Chapter 2 explores theoretical aspects related to the interface of cultural identity, discourse, gender, and myth. Cultural identities are those sides of our identities, which arise from our affiliation with a certain ethnic, racial, linguistic, religious, and national culture. The concept of cultural identity also includes our gender and sexual identities. For a certain individual and at certain times of one’s life, different aspects of cultural identity would be prevailing—whether political, gender, linguistic, racial, and so on. While the concept of a collective cultural identity would be difficult to define without falling into the trappings of untrue and biased generalizations, a close and critical look at specific texts or narratives of literary and cultural productions of performative genres such as drama, theatre, and film could provide valuable insights into these interesting and timely questions.
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Walkling, Andrew R. "Performance and Political Allegory in Restoration England:What to Interpret and When." In Performing the Music of Henry Purcell, 163–79. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164425.003.0011.
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Abstract Allegory is an essential component of the vocabulary of those of us who work with the texts, the drama, and a good portion of the music of the seventeenth century. Even a cursory familiarity with the high culture of the period will make clear both the extent to which allegory played a crucial role in many aspects of seventeenth-century public and courtly discourse and the multifariousness of allegorical expression-not to mention the widespread familiarity with particular kinds of allegorical symbols which prevailed at this time. In the context of allegory as a component of opera, Curtis Price’s article for The New Grove Dictionary ef Opera provides a useful starting-point. Price identifies three basic levels of allegorical expression that can be found in the operas of the seventeenth century: parable, mythological symbolism, and topical or political allusion. The first and second levels do not present any major interpretive problems: if a text uses parable to convey a moral or aphoristic message, that message can usually be understood with a minimum of difficulty. By the same token, mythological symbolism can be relatively easy to decipher, whether the purpose is to make a general statement about commonly held values or to pay respect to the author’s patron or another important personage. It is in the area of topical or political allusion that the problems of allegory become most apparent.
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Sarkar, Debapriya. "Naturalizing Race and Racialized Geographies." In The Oxford Handbook of Shakespeare and Race, 52–70. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780192843050.013.3.
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Abstract This chapter engages three major currents of Shakespeare scholarship—premodern critical race studies, postcolonial studies, and ecocriticism—to trace how the natural and political geographies of The Tempest and Antony and Cleopatra serve as engines of colonial race-making. It follows characters like Caliban and Cleopatra who are racialized through associations with aspects of the nonhuman world that fix them as inhuman. Both plays enact the imperial desire to dehumanize the Other through the techne of racializing geography; the physical world provides the tools—rocks, trees, rivers, and animals—to transform the racialized Other into natural object. By tracing how the historically contingent political and physical geographies of empire animate the naturalization of race in Shakespearean drama, we also see how early modern literature can play a vital role in enhancing our understanding of the long and connected histories of racial and environmental justice.
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Kelz, Robert. "Epilogue." In Competing Germanies, 289–316. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501739859.003.0007.
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This concluding chapter takes a look at the German theaters of Argentina between the 1930s and the 1960s. During this time, Buenos Aires was a volatile, conflict-ridden place which allowed both antifascist and nationalist German blocs to cultivate intercultural alliances without modifying many aspects of their own political platform. Here, the chapter revisits the themes introduced in this volume by linking them to a more poignantly profiled reflection on the salient themes of this study, including inclusion and exclusion, integration, transnationalism, drama theory, theatrical energies, and, of course, competition. The central role of theater enables a reexamination of German-speaking immigrants in Argentina, emphasizing previously underexplored events and individuals while offering new perspectives on more frequently studied topics. The chapter thus depicts the impact of theater on existing narratives about Germans in Argentina, as well as the power of a focus on culture and the arts to inform and shape studies of migrant groups.