Journal articles on the topic 'Drama producers and directors'
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1
Gül, Ayşen. "How Turkey’s creative professionals see their TV drama industry." Medijske studije 12, no. 23 (July 23, 2021): 19–39. http://dx.doi.org/10.20901/ms.12.23.2.
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Turkey’s TV drama industry has made a quantum leap in the past decade and exported many of its dramas (dizis) to more than a hundred countries. Turkey has become the world’s second-biggest TV drama exporter after the USA in 2016. The dizi industry’s transnationalization is attributable to the tireless efforts and unique features of its associated creative industry. However, the industry has some deep problems. This paper seeks to shed light on the challenges that the Turkish TV drama industry faces. The author has conducted in-depth interviews with Producers, Directors, Scenarists, Actors and Distributors. Their replies reveal the basic characteristics and difficulties of the dizi industry and provide clues as to what needs to be done to sustain and build upon the Turkish TV drama industry’s export success.
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Nobes, Karen, and Susan Kerrigan. "White noise." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.
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First Nations content on commercial Australian television drama is rare and First Nations content makers rarely produce the content we see. Despite a lack of presence on commercial drama platforms there has been, and continues to be, a rich array of First Nations content on Australian public broadcast networks. Content analysis by Screen Australia, the Federal Government agency charged with supporting Australian screen development, production and promotion, aggregates information across the commercial and non-commercial (public broadcasting) platforms which dilutes the non-commercial output. The research presented in this article focused on the systemic processes of commercial Australian television drama production to provide a detailed analysis of the disparity of First Nations content between commercial and non-commercial television. The study engaged with First Nations and non-Indigenous Australian writers, directors, producers, casting agents, casting directors, heads of production, executive producers, broadcast journalists, former channel managers and independent production company executive directors—all exemplars in their fields—to interrogate production processes, script to screen, contributing to inclusion or exclusion of First Nations content in commercial television drama. Our engagement with industry revealed barriers to the inclusion of First Nations stories, and First Nations storytelling, occurring across multiple stages of commercial Australian television drama production.
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Wong, Yat-wai Joseph. "Television as the arena of shaping a music genre: The Hong Kong TV broadcasting culture and the rise of Cantopop, 1970–85." Journal of Popular Television 9, no. 1 (March 1, 2021): 79–91. http://dx.doi.org/10.1386/jptv_00042_1.
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The term Cantopop is used by scholars to describe Cantonese popular songs developed in Hong Kong during the early 1970s. The rise and development of the genre was not cultivated by music programmes or variety shows but by Cantonese TV drama culture and the competition between different channels in the 1970s. Footage of early 1970s shows indicates that cover versions of English popular songs were initially more prominent than Cantopop in these programmes. Producers and music directors introduced the genre to television by tailor-making Cantonese theme songs based on the characters and stories of TV dramas. By doing so, Cantopop emerged as an effective tool for promoting TV dramas. In this way, and benefitting from the success of Cantonese TV dramas, Cantopop gradually became accepted as one of the mainstream genres in TV culture.
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Smart, Billy. "The Life of Galileo and Brechtian Television Drama." Journal of British Cinema and Television 10, no. 1 (January 2013): 112–29. http://dx.doi.org/10.3366/jbctv.2013.0125.
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Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.
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Wallace, Robert. "New Play Development: An Introduction." Canadian Theatre Review 49 (December 1986): 4–5. http://dx.doi.org/10.3138/ctr.49.fm.
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At its annual general meeting last August, the Playwrights Union of Canada devoted a day-and-a-half to the subject of new play development in a series of panels and small group discussions collectively titled “The Workshop Workshop.” From across the country, playwrights, directors, dramaturgs, and producers debated the methods and processes by which our theatre production system promotes and inhibits the development of indigenous drama. I say drama, for the emphasis in the PUC deliberations was very much on the play text – a piece of writing intended for production that is sometimes conceived and created by a group but which, more usually, is the work of an individual writer. Throughout the various meetings, the playwright’s preeminence in the process of making theatre rarely was questioned; and the centrality of the word, hence the script, was taken for granted.
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Shevtsova, Maria. "Alive, Kicking – and Kicking Back: Russia’s Golden Mask Festival 2015." New Theatre Quarterly 31, no. 3 (July 9, 2015): 232–40. http://dx.doi.org/10.1017/s0266464x15000445.
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The Golden Mask and National Theatre Award and Festival, founded in Moscow in 1994, has showcased some of the most exciting theatre to be found across Russia’s vast territories: ‘theatre’ including opera, ballet, contemporary dance, puppetry, and newer forms that have taken root with changing artistic practices. Maria Shevtsova’s brief overview of the 2015 Russian Case, a selection for foreign producers and critics, prominently features ‘new drama’, not least because of the difficulties recently imposed on Teatr.doc, a founding player within this powerful movement. Major young directors appear here, with crossover to their work as represented in past editions of the Russian Case, and with reference to current socio-political factors. Reviews of earlier festivals appeared in NTQ 85, 95, and 103. Maria Shevtsova, Professor at Goldsmiths, University of London, is co-editor of New Theatre Quarterly. Her most recent book is the co-authored Cambridge Introduction to Theatre Directing (2013). Her seminal Dodin and the Maly Drama Theatre: Process to Performance (2004) has been translated into Romanian, Korean, and Mandarin and, in 2014, Russian.
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Khan, Zainullah, and Majid Ali Shah. "The Representation of Pathans in Pakistani Prime-Time Urdu Drama." Summer 2023 4, no. 3 (September 30, 2023): 312–26. http://dx.doi.org/10.55737/qjssh.873461740.
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The research explores the representation of Pashtuns in popular Urdu dramas during prime time in Pakistan. Data was collected from six highly-watched Pakistani dramas, namely Suno Chanda, Suno Chanda Two, Bulbuley, Uraan, Googly Mohalla, and Yaqeen Ka Safar. These specific dramas were chosen purposefully due to the inclusion of Pashtun characters. A quantitative content analysis method was employed to examine the portrayal of Pashtuns in these prime-time Urdu dramas. All six dramas focused on depicting aspects of Pashtun life. The study's findings indicate that directors, producers, and actors effectively engaged the majority of the represented population. The dramas, which were both romantic and humorous, maintained a high level of entertainment without resorting to obscenity in dialogues. Language and gestures were used appropriately. In scenes set in Pashtun villages, proper Pashtun attire was consistently featured. Notably, despite the fact that the female characters in these shows were mostly non-Pashtuns, they portrayed Pashtun tribes convincingly. However, in sequences shot in urban settings, female characters were seen wearing alluring gowns that deviated from Pashtun tradition. This shift in attire was accompanied by a change in the behaviour of female actors, who exhibited more vulgar expressions. These aspects, observed in city dramas, presented a different image of Pashtuns, contradicting traditional Pashtun values.
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Lynn, Heery. "Readings in Review." Canadian Theatre Review 48 (September 1986): 137–41. http://dx.doi.org/10.3138/ctr.48.019.
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For lovers of radio drama who never enjoy the chance to read new Canadian radio scripts, this book will be a pleasure. It is well-designed and includes a preface, a critical Introduction, notes on production and textual provenance, a bibliography, and the scripts retain their extensive stage directions, including music and sound. The following sample from Gawain and the Green Knight reminds us of the demands playwrights felt free to make on producers, composers, and technicians in the golden age of radio drama:
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Pearce, Brian. "Beerbohm Tree's Production of ‘The Tempest’, 1904." New Theatre Quarterly 11, no. 44 (November 1995): 299–308. http://dx.doi.org/10.1017/s0266464x00009283.
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Herbert Beerbohm Tree (1853–1917) is remembered today as a great character actor, as a personality, and as a wit: but as a producer he is seldom considered an important or even a positive influence on the course of Shakespearean interpretation in the twentieth century. Focusing on Tree's 1904 production of The Tempest, Brian Pearce argues that Tree was in fact an original and inventive director. Contrasting the faint praise or contempt of theatre historians with the adoption of many of Tree's ideas in later literary criticism of The Tempest, Pearce also suggests that the acceptance of the right of contemporary experimental directors to act in effect as ‘scenic artists’ sits oddly with attitudes to Tree's work, in which he fulfilled precisely such a role. Brian Pearce completed his PhD at the University of London in 1992, and since returning to South Africa has worked as a theatre director. He is a member of the board of directors of the Durban Theatre Workshop Company, and also teaches drama at Technikon Natal.
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Khorana, Sukhmani. "Diverse Australians on television: from nostalgic whiteness to aspirational multiculturalism." Media International Australia 174, no. 1 (November 22, 2019): 29–38. http://dx.doi.org/10.1177/1329878x19863849.
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This article delivers preliminary findings from a series of interviews with Australian migrant producers, directors and writers. With the increasing calls for diversity in the media generally, and on television screens specifically from a wide range of stakeholders (institutions like Screen Australia, advocacy groups and high-profile media personnel of colour), there is ample empirical evidence that our public and commercial broadcasters have a long way to go in terms of ‘reflecting’ contemporary Australia. There is also more emphasis on institutionalised strategies, and looking towards overseas models to make this happen. Using the discourses of official and everyday multiculturalism, this article unpacks what it means to ‘reflect reality’, versus the meaning of various kinds of aspirational content, especially in drama and comedy. Such an analysis is crucial to understand the value of diversity beyond the simplistic rationale of ‘reflection’, and particularly in a changing mediascape.
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Sexton, Max, and Dominic Lees. "Fargo: Seeing the significance of style in television poetics?" Critical Studies in Television: The International Journal of Television Studies 14, no. 3 (August 12, 2019): 343–61. http://dx.doi.org/10.1177/1749602019853792.
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This article explores the adaptation of the original film to television and how a strain of art or independent cinema contributed to the development of the first series of Fargo (2014–present). By making this comparison, the transition to television of the storyworld established by the Coen brothers raises questions about who is talking in the TV drama – the Coens or makers of the series. At the same time, Fargo can be more easily explained and understood as a strategy by writers, directors and producers that further complicate ideas to do with Noah Hawley, as its showrunner and the show’s single-author status. In Fargo, fidelity to the Coen brothers as a testament to the memory of the original film is set against questions about the reliability of storytelling using complex imagery. By alternating between different levels of narration signified by its stylistic tonal qualities, Fargo succeeds in producing multiple meanings, representations and effects that call attention to textual pleasures in the complex television series.
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Uno, Roberta, Kathy Perkins, and Honor Ford-Smith. "Contemporary Plays by Women of Color: An Anthology." Canadian Theatre Review 94 (March 1998): 75–77. http://dx.doi.org/10.3138/ctr.94.018.
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Roberta Uno and Kathy Perkins have put together a riveting collection of plays from the United States called Contemporary Plays by Women of Color. This unique anthology brings together a multitude of Latina, African American, Asian and Native American voices which tell richly varied stories of racialized existence in America. The collection is provocative because it challenges us to think about the complexity of the politics of race, gender, class, sexuality and disability. Given the burden of demands often placed on the work of individual women of colour, this collection is sensibly and firmly heterogeneous in voice and form. It takes delicious liberties with the English language, undermining its limits, even as it also challenges and bends the limits of “western ” theatre. It provides essential reading for both students and teachers of theatre and drama and is a proverbial “pot of gold” for actors, directors and producers longing to enjoy socially engaging and entertaining scripts.
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Breden, Simon. "The Influence of British Directors on the Fundación Siglo de Oro and its Productions of Early Modern Drama, 2007-2021." Revista Alicantina de Estudios Ingleses, no. 37 (July 27, 2022): 105. http://dx.doi.org/10.14198/raei.2022.37.02.
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The Fundación Siglo de Oro –formerly Compañía Rakatá– has been staging Spanish Golden Age and Elizabethan theatre since it was founded in 2006. Over this time, the company has developed an identity associated not only with its staging of early modern drama, but also with the influence of a series of contemporary British theatre practitioners on its rehearsal process. Perhaps one of the most noteworthy constants in its work is a fruitful series of collaborations with British stage directors, beginning in 2007 with Laurence Boswell directing El perro del hortelano (revived in 2014), in 2009 Fuenteovejuna, and in 2015 co-directing Mujeres y criados with company founder and producer Rodrigo Arribas. While, at first, we can ascribe this collaboration to the impact of the Royal Shakespeare Company Golden Age season, curated by Boswell, which visited Madrid’s emblematic Teatro Español in 2004, the company have continued to seek out British directors including Tim Hoare on Don Juan en Alcalá (2016) and Trabajos de amor perdidos (2016), and most recently Dominic Dromgoole on a new production of El perro del hortelano (2021). This latter partnership is also the culmination of a collaboration with Shakespeare’s Globe Theatre which saw the company take part in the Cultural Olympiad with Enrique VIII (2012) and become the first company to perform Lope de Vega in Spanish at the London theatre, with El castigo sin venganza (2014). There has therefore been a clear exchange of ideas between Spanish classical theatre and contemporary British theatre practice. This article proposes to explore the methodological contributions of British directors to better understand how this has altered the in-rehearsal perspectives on the Spanish Golden Age to explain the benefits of this Anglo-Hispanic collaborative approach to the company’s work. This will be supported by an interview with Rodrigo Arribas, whose constant presence as founder, producer, actor and most recently as director can help us to understand the contributions made by Boswell, Hoare and Dromgoole to the company’s rehearsal methodology.
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Hay, Peter, and David Kemp. "Theatrical Anecdotes." Canadian Theatre Review 56 (September 1988): 87–88. http://dx.doi.org/10.3138/ctr.56.021.
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Theatrical anecdotes are almost as old as the theatre itself. Since the earliest days the stage has teemed with real characters and real stories as fascinating as any created by the dramatist. In his excellent, lively, and amusing collection Peter Hay takes us behind the scenes and allows us to be a party to backstage rivalries, thespian eccentricity, tight-fisted producers and all the horrors and indignities suffered by actors on tour. All the great names are here – David Garrick, Sarah Bernhardt, Noel Coward, Donald Wolfit, Laurence Olivier, John Gielgud and Helen Hayes – but it is not only the glittering and glamorous on whom Peter Hay turns his anecdotal spotlight. Directors, producers, critics, prompters, prop men, designers and even ghosts are also represented together with those legions of near-anonymous players and professionals without whom the stars would not be stars and the theatre could not exist. For example, who would ever remember Creston Clarke if it had not been for Eugene Field, drama critic of the Denver Post, who, reviewing a performance of King Lear, wrote, “Last night Mr. Creston Clarke played King Lear at the Tabor Grand. All through the five acts of the Shakespeare tragedy he played the King as though under the premonition that someone was about to play the Ace.” A dubious immortality, Creston.
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Vorobiov, Serhii. "Director's Analysis of Evolutionary Modifications of Mykola Lysenko's Work “Drowned”." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 233–48. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251824.
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The process of evolutionary modifications of M. Lysenko's work "Drowned" based on M. Gogol's play "May Night, or Drowned" from its first premiere (1884) to the present is considered. The relevance of the chosen topic in the context of self-identification of the nation against the background of transnationalization of art is clarified. The research methodology with the choice of system-analytical, historical-typological, comparative, genre-stylistic and interpretive methods is outlined. The purpose of the research is to determine the specifics of musical and directorial versions of the work, performed at different times by theaters of Ukraine in the context of theatrical aesthetics of a certain era with the transformation of its genre and style features. The degree of complexity of the director's analysis of littleknown versions of Lysenko's work is revealed, at which the director has to investigate the composer's idea from the beginning of writing to making editorial changes, to turn to the historical circumstances reflected in it; to follow the transformation of the genre defined by the author; identify the events that contributed to the changes in the stage material, which had an impact on the director's decision of the play. It was found out that the directors-interpreters of M. Lysenko's work "Drowned" initially embodied this material as music for drama. Later, with the success of the play, the composer expanded the musical accompaniment of the numbers, and his followers completely orchestrated the work in the genre of great opera. The success of the performances is closely connected to the version for musical and dramatic theaters with dramatic monologues and dialogues of the characters, and the versions of major opera performances were mostly criticized and did not have a long life in theatrical repertoires. It is proved that in search of techniques, directors often lose the composer's idea of the work, coloristic mental features and distance their own idea when creating a play from the truly established issues of musical and literary stage original. The transformation of the material by different directors is considered, which provides an opportunity to highlight the strengths, rethink the obsolete means of expression, to transform the selected material for the modern audience in terms of integration theatrical processes. The analysis of scientific achievements on the chosen issues allows to state the fragmentary research of genre variations of M. Lysenko's work "Drowned" and stage incarnations of artistic images of characters in the context of sociopsychological and mental features of the Ukrainian ethnos. The review of evolutionary modifications of the work revealed an active attempt of authors and producers to transform the material from the dramatic — with the illustrative aspect of music (1884, Kharkiv), with the definition of the vector of musicaldramatic — with the solution of musical dramatic problems (1885, Odessa), the inclusion of mass choral and ballet scenes (1937, Odessa) and the transformation into the style of a large opera performance with interesting findings and dramatic gaps (1950, Kyiv).Current transformations of Lysenko’s work “Drowned” allow us to state that the stylistics of the genre of a great opera performance had a short stage life due to the loss of the tempo of events and is not used by musical theaters of Ukraine today. The musical-dramatic version, which is presented by many performances in Ukrainian theaters, is in great demand among the public due to the rapid dynamics of events, the colorful atmosphere of the Ukrainian village, well-resolved images of characters, so it is actively addressed by modern domestic directors. The scientific novelty of the research was revealed, which consists in determining the characteristic features of genre variations of Lysenko's work "Drowned", establishing the most promising aspects for the further development of the musical theater of Ukraine. Vectors of further research of the subject, comparative analysis of opera and music-dramatic versions with determination of character of temporitums in musical drama and director's interpretations, their rethinking according to new requirements and possibilities of a theatrical scene are predicted.
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Akinkoya, Omoniyi F., Ayo C. Odetoyinbo, and Taiwo A. Olaniran. "Broadcast Media Entertainment and Attitude Cultivation: A Study of Obscene Programme Viewership by College Students." East African Journal of Arts and Social Sciences 3, no. 1 (August 28, 2021): 137–46. http://dx.doi.org/10.37284/eajass.3.1.395.
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This study examined broadcast media entertainment and attitude cultivation, a study of behavioural patterns of College Students. It is a survey designs study that investigated undergraduate communication students of The Polytechnic, Ibadan, Oyo State and Moshood Abiola Polytechnics, Ogun State. Systematic random sampling was adopted to select a sample size of three hundred (300) communication students of the two institutions as respondents for this study. Programmes such as films, soap operas and musicals, etcetera were units considered. The theoretical framework is premised on the cultivation theory and gratification theory. Its analysis was hinged on the simple percentage statistical calculation. The study outcome showed that youth crave satisfaction in the entertainment programmes they watch and that entertainment programmes like musical videos, foreign and local drama do portray obscenity which brings about delinquent behaviour in the younger generation. It was recommended that producers and directors of entertainment products should be conscious of young people who form the chunk of their audience to eliminate obscenity in programme production, while parents should control the level of media exposure of their wards
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Woźniak, Katarzyna. "Pirandello jako widz zawodowy." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 126–34. http://dx.doi.org/10.24917/20811853.17.11.
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Pirandello as professional spectatorAbstractLuigio Pirandello’s drama were unfailingly popular with Polish directors between the beginningof the 1960s until the 1970s. Native creators have undertaken dramas from differentperiods of the Nobelist’s output and covering various topics – bourgeois comedy to metatheatricalworks. Most probably those do not include all that were staged then.It appears that an increased interest in the author is to be connected with the 25th anniversaryof his death, as is suggested by Mieczysław Brahmer in the 1961 Tak jest, jak się państwu zdaje(directed by Zofia Wiercińska).The fact that both then and now critics and researchers in the majority of cases assumed, notnecessarily consciously, they are writing about an artist that is mainly a writer and only thena critic of stage productions of his dramas and a stage producer for his own texts is significant.As a consequence they focused mainly on deconstructing the “pirandellism” condemned byBrahmer, in particular on its canonical interpretation by Adrian Tilgher. Therefore, the followingquestion comes to mind: what kind of interpretations are possible when Pirandello’sworks (especially the first part of the so-called trilogy of “theatre in a theatre” which consistsof Six Characters in Search of an Author, Each In His Own Way and Tonight We Improvise) areconsidered from the perspective of purpose, that is individual theatrical activity of Pirandelloas a co-founder, principal and stage producer of Teatro D’Arte in Rome (in operation between1924 and 1928). The present article attempts at showing the possible direction of a search foran answer to said question with the starting point being the 1962 production of Sześć postaciscenicznych w poszukiwaniu autora (Six Characters in Search of an Author) directed by MariaWiercińska in Stefan Jaracz Theatre in Łódź.Keywords: Pirandello in Poland, Maria Wiercińska, first theatre directors in Italy
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McCann, Ben. "‘Ici, une immense usine perfectionnée; là, une chambre meublée de faubourg’: Julien Duvivier, mobility and migration." French Cultural Studies 29, no. 1 (January 12, 2018): 59–69. http://dx.doi.org/10.1177/0957155817738677.
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This article focuses on a specific instance of migration and mobility in French film director Julien Duvivier’s career, namely his first brief stint in Hollywood in 1938. He was invited to film The Great Waltz, an expensive costume drama, for MGM, a studio renowned for its lavish attention to mise en scène. Unlike other French directors who had spent, or would subsequently spend, time in America, Duvivier succeeded in inculcating his own particular formal and visual touches into the film, while simultaneously negotiating the tricky terrain of producer interference and suspicion of a foreigner’s working methods. Duvivier’s professional leap from one cinema ecosystem to another paved the way for his enforced migration to Hollywood in 1940, when he escaped from Occupied France to work again in the studio system. For Duvivier, Hollywood did not disable his talent, but rather enabled it, revitalising his praxis and leading him towards increasingly ambitious projects back in France.
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Ata, Yasemin. "The paradox of tranquility and brutality: Soundtrack dissonance in Squid Game Series." Journal of Human Sciences 20, no. 4 (October 8, 2023): 477–87. http://dx.doi.org/10.14687/jhs.v20i4.6409.
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Music has been a fundamental element of the art of film since its earliest examples. The “soundtrack”, as a recorded song or composition used to support film scenes, usually has features that coincide with the theme of the film, the emotion of the scene in which it is used, or the film images. However, sometimes it can be seen that film producers and directors choose music to accompany film scenes that is completely contrary to the dominant emotion in the scene. They use music that has a cheerful character for a drama scene, sad for a happy scene, fun for a horror scene, etc. According to the theorists of different historical periods of film literature, the aim of these choices, which shake the viewers’ expectation of harmony between the scene and music, is to try to offer new and different perspectives to the viewers perception through the paradox of scene atmosphere and music. With this kind of use, considered as soundtrack dissonance in the study, brand new meanings can be produced from the combination of opposing elements that neither the film scene nor the music alone can produce individually. This study aims to analyse the game scenes selected from “Red Light, Green Light”, the first episode of the Squid Game series broadcast on the Netflix digital platform in 2021, as an example of soundtrack dissonance.
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Murphy, Kate. "‘New and important careers’: how women excelled at the BBC, 1923–1939." Media International Australia 161, no. 1 (September 26, 2016): 18–27. http://dx.doi.org/10.1177/1329878x16664998.
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From its beginnings in 1923, the BBC employed a sizeable female workforce. The majority were in support roles as typists, secretaries and clerks but, during the 1920s and 1930s, a significant number held important posts. As a modern industry, the BBC took a largely progressive approach towards the ‘career women’ on its staff, many of whom were in jobs that were developed specifically for the new medium of broadcasting. Women worked as drama producers, advertising representatives and Children’s Hour Organisers. They were talent spotters, press officers and documentary makers. Three women attained Director status while others held significant administrative positions. This article considers in what ways it was the modernity and novelty of broadcasting, combined with changing employment possibilities and attitudes towards women evident after the First World War, that combined to create the conditions in which they could excel.
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Sporton, Gregory. "The Ballet Called ‘Siegfried’: the Enigmatic Prince of Swan Lake." New Theatre Quarterly 24, no. 3 (August 2008): 281–93. http://dx.doi.org/10.1017/s0266464x0800033x.
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Swan Lake has a central place in the ballet repertoire. Generally seen as the ballerina's ballet, one of the greatest difficulties in presenting Swan Lake as a credible drama has been the historically marginal role played by Siegfried, the Prince. As choreographer-producers have struggled in the challenge to make the ballet work dramatically, his character has been transformed from onlooker to major influence in a series of reinterpretations of this classic work. In this article Gregory Sporton raises questions about what motivates Siegfried and why that is important for our understanding of the ballet, offering an alternative view of Siegfried's character. Gregory Sporton is Director of the Visualisation Research Unit in the Department of Art at Birmingham Institute of Art and Design. His interest in Swan Lake emerges from his background as a dancer and long periods of research in the former Soviet Union during 2004–2006, when he was able to see at first hand most of the Russian productions referenced in this article. His other published work includes ethnographic accounts of dance and its place in the flow of culture.
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Spector, Susan. "Telling the Story of Albee's Who's Afraid of Virginia Woolf?: Theatre History and Mythmaking." Theatre Survey 31, no. 2 (November 1990): 177–99. http://dx.doi.org/10.1017/s0040557400009340.
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Who's Afraid of Virginia Woolf? opened on Broadway on 13 October 1962. The author, producers, director and two leading actors won Tony Awards for that season; the play won the New York Drama Critics' Award, and two members of the Pulitzer Committee resigned when that group refused to give Virginia Woolf its top honor. This production of the play captured the vigor and emotional daring of off-Broadway, brought it uptown, and made it pay, running for 644 performances on Broadway. Early in 1964, when Uta Hagen and Arthur Hill repeated their roles in London for twelve weeks, Who's Afraid of Virginia Woolf? became the first post-war American production to achieve a critical success in the West End. The story of this landmark production has been told piecemeal by writers in the popular press, by theatre historians, and in sharply differing accounts by its director, Alan Schneider. Collation of published testimony about the production with unpublished materials such as correspondence, diaries, and interviews with principals reveals the complex artistic process that led to the success of this play. The different versions of the story reveal the risks of storytelling and some of the challenges storytellers present to theatre historians.
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Panasiuk, Valerii. "«La Traviata» remastered. G. Verdi’s opera in the stage interpretation by V. Nemirovich-Danchenko." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 63–82. http://dx.doi.org/10.34064/khnum2-21.04.
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The historical evidence of the XX – the beginning of the ХХІ century musical theatre proves that the drastic interpretation as “a coherent artistic project” can include creating a new text for a libretto, which is aligned to fundamentally important provisions of the director’s concept. It was true for G. Verdі’s “LaTraviata” theatrical performance implemented on the stage of the State Musical Theatre named after People’s Artist of the Republic V. Nemirovich-Danchenko (1934). Due to their provocative approach and radicalism of breaking with wellestablished traditions the ideas of the stage producers (directors, a conductor, an artist and a librettist) are in tune with the guidelines of the modern interpreters of opera classic. Consequently, that far away experience becomes relevant nowadays. Considering it, one can enable solve certain problems in condition when the new ideological principles and innovative art directions are spread. There is an urgent necessity to define the principles of coping with a libretto as an integral part of a holistic director’s vision on the example of “LaTraviata” staging implemented by V. Nemirovich-Danchenko (1858–1943), who was one of the most prominent reformers of both drama and musical theatres in the XX century. So, the aim of this article is to analyze the libretto for the opera “La Traviata” by G. Verdi created by V. Inber using the research approaches of theater studies and literary theory and to define the principles of working with the verbal text as with the part of a holistic director’s conception implemented by V. Nemirovich-Danchenko. The results of the research. Taking into account the guiding directions of the Soviet ideology, the producers obviously over accentuate the social component of the conflict. As a result, “the scenic situation is exacerbated” and consequently “Violetta’s social characteristics” are adjusted; being originally a demimondaine, the main heroine turns into an opera singer, whose tragedy makes the class conflict obvious. The total redefining of the conflict, transferring the place of the action (Venice) and the time (the 1870s), and characters’ social tagging enables implementing another fundamentally important provision – an aesthetic one. The visual identity of the 1870s is strongly associated with the impressionists’ images, Venice is identified with a carnival and relevant artistic attributes (the third act of the play). Focusing on the certain “painting archetype of the epoch”, the set designer (P. Williams) created the suitably matched environment for scenic playing. The innovative approach provided by the director’s concept is implemented within the libretto text by means of updating the stage narrative itself. The author of the libretto, Vera Inber (1890–1972) does not emphasize the opera singer’s destiny, but pays attention to the main character’s relations with the bourgeois society. The latter observes the lifetime conflicts development of one of the artistic bohemia’s representatives with a great deal of interest, but without any compassion. That fact justifies using the new scene – the stage, which enables applying the principle “a theatre within a theatre” (also in the sphere of the artistic design). This approach is naturally combined with the use of the “heraldic construction” in V. Inber’s libretto. In the process of realizing the stage narrative, a separate plot situation is repeated in a small-scale version. The mindset to double and complicate the narrative is carried out in the libretto. Due to that fact, a new conflict (social in its origin and provided by the authors of the director’s vision) development is enabled. The relevant literary allusions in poetical text (although obviously shallow) are set to create a meaningful artistic prospect. In the turning points, the storylines development in V. Inber’s libretto coincides with F. М. Piave’s libretto drama collisions: happy lovers; their happiness, destroyed by Alfred’s father; having an argument and the heroine’s death. The key distinction of a new version is the refusal to use Violetta’s disease as the character’s feature and the plot component, which determines the tragic ending. That is why the fourth act becomes fundamentally different, unlike the original one. Being ignored by the bourgeois environment, Violetta secludes herself from the society and abandons her successful career. The singer informs her coactors (who appear on the stage later) about that fact in the letter. Implementing the principle “a theatre within a theatre” consistently, V. Inber treats the entire final set (especially the heroine’s death) as the last scene of the theatrical performance. Thus, the inevitability of the tragic resolution of the conflict between the artistic personality and the bourgeois society is proved. It facilitates realizing dramatically vital guidelines of a director’s general vision, which becomes determinant in the process of staging G. Verdі’s masterpiece. Conclusions. The practice of rewriting librettos in the first decades of XXI century acquires a new relevance. First, creating a new libretto resolves all the disagreements between a conception of the production team and the original verbal text nowadays. Mostly those contradictions emerge in the process of changing the locality, in which the action proceeds and the time of the plot. Secondly, one of the most burning problems of the ХХІ century musical theatre, concerning the performance language choice, is resolved. Performing an opera using the audience’s native language promotes full-fledged communication between the actors and the spectators. Thirdly, the necessity for rewriting librettos supposes involving the prominent masters of the word, especially poets. Thus the effective dialogue between different national cultures is put into practice and the active circulation of the previous centuries classic (including the opera one) in the socio-cultural sphere is insured.
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Klivis, Edgaras. "Inside Frozen Geographies." Nordic Theatre Studies 32, no. 2 (January 22, 2021): 138–55. http://dx.doi.org/10.7146/nts.v32i2.124357.
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After the annexation of the Crimean Peninsula by the Russian Federation in 2014, the attitude of Baltic theatre producers and artists towards cultural and institutional partnerships with Russian theatres and their involvement in the mutual artistic exchanges, tours, common projects, and networking changed; not only due to these exchanges becoming a controversial issue in the public eye, but also due to the polarization they caused in the artistic community itself. Some artists, like Latvian stage director Alvis Hermanis, have decisively terminated all their previous creative partnerships, arrangements and tours, calling also other theatre artists “to take sides”. Others, like Russian stage and film director Kirill Serebrennikov who, for years, had been involved with Baltic theatres, would regard taking sides as a disastrous yielding of culture to the logic of war – theatre should be kept as the last link between societies gradually separated by reciprocal propaganda insanity. Building upon these conflicts describing the changes in intercultural theatrical cooperation between Russian and Baltic theatres, the article focuses on the analysis of three productions: Dreams of Rainis by Kirill Serebrennikov at the Latvian National Theatre (2015), Alexander Pushkin’s play Boris Godunov directed by Eimuntas Nekrošius at the Lithuanian National Drama Theatre (2015) and Brodsky/Baryshnikov staged by Alvis Hermanis at the New Riga Theatre in 2016. All of the performances refused to stay inside the frameworks marked for them by the regimes of propaganda wars, public diplomacy, or dispositif of security, but focused instead on the possibilities of intellectual disobedience.
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Lee, SG. "Size Matters: A Consideration of the Canadian “Shoebox Musical"." Brock Review 12, no. 2 (February 16, 2012): 49–61. http://dx.doi.org/10.26522/br.v12i2.357.
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Is the Canadian "shoebox musical" best seen as Broadway's poor country cousin or as Canadian drama's illegitimate sibling? This paper will consider the place of the "shoebox musical" with its small cast, few musicians and modest production requirements as a Canadian sub-genre in the larger tradition of the musical theatre. Beginning with an overview of the historical economic, artistic and social conditions that have encouraged, or perhaps forced, Canadian musical theatre artists to produce musicals on a scale almost unimaginable to the Broadway sensibility, the paper goes on to examine the ways in which working within that box has shaped the plays created. From Billy Bishop Goes to War to My Mother’s Lesbian Jewish Wiccan Wedding, a great many Canadian musicals have been made with a simplicity of style and absence of conspicuous consumption that may be merely a result of the material constraints under which they were created, a diminution of the creators' grand artistic visions, or may in fact be a theatrical reflection of a Canadian ethos or perhaps an uncomfortable balance of the tension between the two forces. Drawing on personal experience as a playwright and artistic director and interviews with other playwrights and producers, along with popular and critical writing, the author makes a case for the “shoebox musical” as a distinctly Canadian contribution to the world of musical theatre as well as a legitimate contribution to Canadian drama.
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Cantrell, Tom. "Directing actors in continuing drama." Critical Studies in Television: The International Journal of Television Studies 13, no. 3 (August 21, 2018): 297–314. http://dx.doi.org/10.1177/1749602018781312.
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This article examines how three directors approach working with actors in one of the most exacting creative contexts – long-running television. Via new interviews with three directors of the flagship BBC continuing drama, EastEnders (1985–), this article explores their approaches in the context of the time constraints in production which preclude rehearsal and where directors and actors alike must work with great speed and precision. The three directors interviewed, Sophie Lifschutz, Kate Saxon and Rebecca Gatward, all trained in and have significant experience of theatre. This article thus explores the elements of their theatre training and experience that translated to their television work with actors, elements that required remodelling, and what was completely new to them and thus can be classified as medium specific. ‘Emotional action’ and ‘physical action’ emerge as key terms in the directors’ work, and the article explores how these directors worked to afford the actor creative space within such a formidable shooting schedule. With reference to Stanislavski’s writing on the ‘Method of Physical Action’ and the theatre technique of ‘actioning’, this article brings to light the hidden processes of television direction and locates the directors’ approach to working with actors as a creative labour which is a significant meaning-making component in continuing drama.
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Darussalam, Najwa Leonita, and Joko Wiyoso. "Creating Process of Composition Of The “Kulino” Musical Drama At Theater Aura Indonesia." Jurnal Seni Musik 10, no. 2 (December 31, 2021): 150–59. http://dx.doi.org/10.15294/jsm.v10i2.45925.
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Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.
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Owusu, Xornam Atta, and Sika Koomson. "Crossroads of Culture: The African Storyteller and The Western Theatre (Drama) Actor, Director, Producer." British Journal of Multidisciplinary and Advanced Studies 4, no. 3 (May 29, 2023): 18–33. http://dx.doi.org/10.37745/bjmas.2022.0197.
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The paper argues that in Africa, the storyteller discursively functions as an actor, director, a producer, and all. It investigates the point of emergence and the point of departure between the storyteller in Ghana and that of the Western theatre stage performer, director and producer. The study regards the storytelling art as a literary theory which is an intellectual knowledge paradigm grounded in values derived from indigenous cultural experiences of the storyteller. By analysing and drawing particular attention to roles of the storyteller, this article expresses perspectives, based upon the values of using all the necessary communication skills as a viable medium to spur people into action for self-actualisation. The paper attempts to show the strong intertextual and interconnection between both Ghanaian (African) theatre and the Western theatre experiences. The selected areas in the paper suggest direct and indirect identical traits and weighing strength of thoughts and practices of the storyteller’s various roles, and also to fix those roles into various functions in the Western theatre. Implications are drawn on the basis of the critically examined experiences and through analysis of the utilisation of the oral Ghanaian (African) storytelling traditions as a methodological framework. This study, therefore, highlights the basic functions and roles in the Western theatres which the storyteller performs through the development of the dramatic storytelling theatre.
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Shchukina, Yu P. "Features of Volodymyr Morskoy’s theatrе criticism (1920–1940 years)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 70–83. http://dx.doi.org/10.34064/khnum1-51.03.
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Background. Today, analyzing the Ukrainian theatrical movement of the first half of XX century, we can’t bypass V. Morskoy’s critical legacy. Volodimir Saveliyovich Morskoy (the real name – Vulf Mordkovich) is one of the providing Ukrainian theatrical and film critics of the first half of the XX century. He left us his always argumentative, but sometimes contradictious evaluations of dramatic art masters: the directors of Kharkiv Ukrainian drama theatre “Berezil” (from 1935 it named after T. Shevchenko) L. Kurbas, B. Tyagno, L. Dubovik, Yu. Bortnik, V. Inkizhinov, M. Krushelnitsky, M. Osherovsky; the producers of Kharkiv Russian drama theatre named after A. Pushkin – O. Kramov, V. Aristov, V. Nelli-Vlad and many others. Due to the critic’s persecution by the repressive machine of USSR, his evaluations of theatrical process were not quoted in soviet time researches. They still were not entered to the professional usage, were not published and commented in the whole capacity. Methods and novelty of the research. The research methodology joints the historical, typological, comparative, textual, biographical methods. The first researcher, who made up incomplete description of the bibliography of dramatic criticism by V. Morskoy, became Kharkiv’s bibliographer Tetyana Bakhmet. She gave maximally full list of critic articles (more than eighty positions) for the 1924, 1926–1929, 1937, 1948–1949 years. Kharkiv’s theater scientist Ya. Partola [16] in the first encyclopedic edition, that contains the article about V. Morskiy, gave the description of the only publication by critic known for today, in Moscow newspaper “Izvestiya”. Forty six critical articles, half of which didn’t note in bibliographies of both scientists, were collected and analyzed in periodical funds of Kharkiv V. Korolenko Central Scientific Library by the author of this article. Objectives. V. Morskoy was writing the reviews about the new films; the programs of popular and philharmonic performers; was researching the musical theater. This article has the purpose to characterize the features of V. Morskoy’ critical reviews on the dramatic theater performances. Results. It was managed to find out the articles by V. Morskoy hidden for the cryptonym “Vl. M.”, which dedicated to the performances of the “Berezil” theater of the second half of 1920th: “Jacquery”, “Yoot”, “Sedi“. The critic wrote about the setting “Jacquery ” by director V. Tyahno : “Berezil in setting of ‘Jacquery’ emphases it’s ideology, approaching ‘Jacquery’ to nowadays viewer” [2]. Perceiving critically some objective features of avant-garde stylistic, such as cinema techniques, V. Morskoy remarks: “The pictures are discrete, too short, some of them are lasting for 2–3 minutes, they made cinematographically” [2]. In the same time, the young critic already demonstrates the feeling and flair to the understanding of acting art. So, he accurately pointed out the first magnitude actors from the “Berezil” ensemble: A. Buchma, Yo. Ghirnyak, M. Krushelnitsky, B. Balaban [2]. V. Morskoy connected his view to “Jacquery” with the tendency of the second half of the 1920th: “For recently the left theaters became notably more right, and the right one – more left”[2], that reveals his theatrical experience. His contemporaries due to the author’s sense of humor easily recognized the style of V. Morsky’s reviews. Critical irony passes through the his essay about the setting by director V. Sukhodolskiy “Ustim Karmelyuk” in the Working Youth Theatre: “Focusing attention to Karmelyuk, V. Sukhodolskiy left the peoples in shade. Often they keep silence – and not in the Pushkin sense “[14]. Despite on the “alive” style, one of the features of V. Morskoy journalism was adherence to principles. His human courage deserves a high evaluation. In 1940, after the three years after the exile of Les Kurbas, the leader director of “Berezil” Theater, to Solovki, the critic published in the professional magazine the creative portrait of this disgraced director’s wife – the actress Valentina Chistyakova [15]. V. Morskoy arguments on the relationship between the modern works and the tradition of prominent predecessors has always been ably dissolved in an analysis of a performance. Each time V. Morskoy was paying attention to the distinctions of principals of playwriting, stage direction and even creative schools, in the second half of 1930th – 1940th, when the words “stage direction”, “currents”, in condition of predomination the so-called “social realism” method, in the soviet newspapers practically were not mentioning. For example, the critic saw of realistically-psychological directions in the O. Kramov’s performance “Year 1919”[9]. In 1940, V. Morskoy made a review of the performance of the then Zaporizhhya theater named after M. Zankovetska “In the steppes of Ukraine”, insisting on the continuity of the comedies of O. Korniychuk in relation to the works of Gogol and others of playwrights-coryphaeuses: “The play of O. Korniychuk is characterized by profound national form...” [7]. However, in the fact that in the Soviet Union at that time reigned as the doctrine the methodology of the “socialist realism”, the tragedy of honest criticism comprised. In controversy with the critic O. Harkivianin, V. Morskoy expressed the credo about the ethics and fighting qualities of the reviewer: “Apparently, Ol. Kharkivianin belongs to the category of peoples, who see the task of critic in order to give only the positive assessments. The vulgar sociological approach to the phenomena of art could be remaining the personal mistake of Ol. Kharkivianin. But when he presents him as the most important argument, everyone becomes uncomfortable”[8]. In 1949, the political regime fabricated the case of a “bourgeois cosmopolitan” against the honest theatrical critic and accused him in betraying of public interests adjudged V. Morskoy to untimed death at a concentration camp (Ivdellag, 1952). However, the time arbitrated this long discussion in favor of V. Morskoy. Conclusions. For the objective analysis of theater life of the city and the country as a whole, it is imperative to draw from the historical facts contained in the reviews of V. Morskoy, and the methodology of the review while investigating studies of theatrical art and theatrical thought of 1920–1940th. Thus, the gathering of the full kit of the critical observations of the famous Kharkov theater expert of the first half of the XX century is the important task for further researchers.
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Feng, Zongxin, and Dan Shen. "The play off the stage: the writer-reader relationship in drama." Language and Literature: International Journal of Stylistics 10, no. 1 (February 1, 2001): 79–93. http://dx.doi.org/10.1177/0963-9470-20011001-05.
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The writer-reader relationship in drama, with stage directions as part of the dramatic language, is much more complicated than that in other types of literature. The complication mainly comes from the fact that 'the reader' is a kind of collective term covering various types of individuals with different pragmatic roles, including the director, the stage producer, the setting designer, actors/actresses, the audience outside the theatre and ordinary readers. Thus, instead of a one-to-one process of communication between the writer and the reader, there are multiple parallel processes between the writer and various types of readers, with the same play text conveying different pragmatic meanings to different addressees. For instance, a play text is utilitarian in the theatrical circle but fictional in the literary circle, and what is imperative for one type of reader is purely descriptive and narrative for another. For various reasons, this area has so far received little critical attention. This article, from a pragmatic-stylistic perspective and with special reference to Eugène Ionesco's The Lesson, attempts to examine how the playwright's discourse strategies produce different effects on different types of readers.
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Wagumba, Collins Auta, and Michael M. Kamau. "Balancing Audience’s Needs and Producer’s Expectations in Television Serial Drama Programming." Jurnal Komunikasi Islam 10, no. 2 (December 28, 2020): 173–97. http://dx.doi.org/10.15642/jki.2020.10.2.173-197.
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The study sheds light on how the TV station executives balance the entertainment needs of its audience and the producers' expectations within a changing digital broadcast environment. The study is anchored on uses, gratification, and the encoding and decoding theories. The research employs a mixed-method design approach by using survey questionnaires (415), FGDs and in-depth interviews with 5 TV station executives in Kenya and serial drama fiction producers’. The results indicate that the station executive takes centre stage to fulfil the urban audience needs and the producers’ needs respectively. The station executives’ contextualize the viewers and the serial drama producers as ‘profit vessels’ and any decision made towards them should culminate in economic benefit to the station. The study recommends bridging the relationship between the station executives and the serial drama producers, making the former play an advisory and consulting role in the productions.
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Limb, Seong-Joon, Choonkeun Lee, and Seungyoup Choo. "Changing Adaptive Behaviors of TV Drama Producers." Journal of the Korea Contents Association 12, no. 12 (December 28, 2012): 627–38. http://dx.doi.org/10.5392/jkca.2012.12.12.627.
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Stanton, William. "British Radio Dramaturgy and the Effects of the New Conservatism." New Theatre Quarterly 20, no. 1 (January 5, 2004): 59–68. http://dx.doi.org/10.1017/s0266464x03000332.
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This essay, which is informed by the author's own practice as a playwright working in the medium of radio drama, looks at some effects of the enforced merger of radio with TV drama to create a ‘bi-media’ department at the BBC, and considers the evolution of commissioning policy since the imposition of the internal market under the Director Generalship of John Birt (from 1992 to 2000). Considering radio drama, after Adorno, as a producer in the culture industry, he suggests that the neo-conservatism of the 1980s, as described by Habermas, is a significant factor in understanding current commissioning practices and the dramaturgy of new realism in some radio drama. William Stanton is a Lecturer in Drama at Exeter University, where he teaches and researches writing for performance and intercultural performance practice through a research/practice link with the University of Santa Catarina, Florianópolis, Brazil, where he has an AHRB award for a new project in 2004. He is also a writer of fiction and plays for stage and radio. His most recent play for BBC Radio 4 was Dead Line in 2002, and his Route 23 is forthcoming.
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Lee, Seungeok. "A Study on the Staging of M. Bulgakov's Play <Kabbalah of Hypocrites> in the Thawing Ages and Post-Soviet Era: Focusing on Performances by Efros in 1966, Yefremov in 1988, and Tabakov in 2001." Korean Society of Culture and Convergence 45, no. 4 (April 30, 2023): 677–92. http://dx.doi.org/10.33645/cnc.2023.04.45.04.677.
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The purpose of this thesis is to comparatively study how Bulgakov's drama ‘Kabbalah of Hypocrites’ was staged during the thaw, and post-Soviet era. This study is an attempt to examine the essential meaning of staging a drama by studying how a drama text is transformed into a stage space through various directors and theaters at different times and performed. To this end, in this thesis, Efros's 1966 Renkom performance and two performances at the Moscow Art Theater, namely Yefremov's performance in 1988 and Tabakov's performance in 2001, were presented as 'the main character' compared and analyzed the shape of Molière. This thesis, which studies how a work was staged at different times, socio-political environments, and by different directors, suggests that it can be actively used in the methodology of studying dramas' staging.
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Gozansky, Yuval. "Fifty Years of Drama on Israeli Children’s Television." Israel Studies Review 33, no. 2 (September 1, 2018): 123–47. http://dx.doi.org/10.3167/isr.2018.330208.
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This article analyzes the changes in drama series in the first five decades (1966–2016) of Israeli children’s television. Based on interviews with 27 central producers, this cultural-historical study seeks to explain the significance attributed to children’s drama over the years. Early children’s drama series in Israel were instructional or educational, but they also sought to control the representation of childhood under the direct supervision of the state. The neo-liberal privatization process in Israeli society led to the creation of locally produced, Hebrew-speaking daily dramas on private channels for children. In the multiscreen environment created by the age of multichannel television and digital media, original Israeli daily drama shows functioned as a central branding tool for children’s channels. The article contends that these shows became one of the producers’ key answers to the changes in children’s viewing habits and, more particularly, linear television’s strategy for success in a world of multiple online screens.
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Shevtsova, Maria. "An Editor's Wish List." New Theatre Quarterly 25, no. 4 (November 2009): 303–5. http://dx.doi.org/10.1017/s0266464x0900058x.
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The co-editors of New Theatre Quarterly take time out here to reflect on the milestone of the journal reaching its hundredth consecutive issue, in succession to the forty of the original Theatre Quarterly. Simon Trussler was one of the founding editors of the ‘old’ Theatre Quarterly in 1971. He is the author of numerous books on drama and theatre, including New Theatre Voices of the Seventies (1981), Shakespearean Concepts (1989), the award-winning Cambridge Illustrated History of British Theatre (1993), The Faber Guide to Elizabethan and Jacobean Drama (2006), and Will's Will (2007). Formerly Reader in Drama in the University of London, he is now Professor and Senior Research Fellow at Rose Bruford College. Maria Shevtsova, who has been co-editor of New Theatre Quarterly since 2003, is Professor of Drama and Theatre Arts and Director of Graduate Studies at Goldsmiths, University of London. The author of more than one hundred articles and chapters in collected volumes, her books include Dodin and the Maly Drama Theatre: Process to Performance (2004), Fifty Key Theatre Directors (co-edited with Shomit Mitter, 2005), Robert Wilson (2007), Directors/Directing: Conversations on Theatre (with Christopher Innes, 2009), and Sociology of Theatre and Performance (2009).
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Zhuang, Shubin, and Ruiyang Qin. "Research on the Marketing and Promotion of Boys' Love drama on Weibo from the Perspective of Fan Culture." BCP Business & Management 17 (February 23, 2022): 223–35. http://dx.doi.org/10.54691/bcpbm.v17i.396.
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In the Internet era, the market has put forward higher requirements for the drama marketing and promotion on Weibo. Besides, the IP craze such as fan culture and boy’s love (BL) drama has brought new opportunities and challenges. The paper starts with a quantitative content analysis of the drama Guardian and The Untamed which are popular in recent years, looks into the influence of fan group and BL culture on Weibo’s drama marketing and promotion based on the super group and official account, and puts forward corresponding strategies and suggestions. The study finds that producers, celebrities and fans are interconnected. Among them, fans take the navigating position whereas producers and celebrities are responsible for producing the content targeted at fan groups and exploring the methods of traffic monetization with grasping the emotional and economic model of fan culture. However, in this process, there are also problems such as capital and platform power misuse, the irrational activities. Therefore, more normative guidance of the BL adaptation culture and BL dramas needs to be put on the agenda.
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Kim, Mi-Sook,, and Jia Hong. "The Conflict between Producers during 2 Drama Production Process." Korean Journal of Communication & Information 86 (December 31, 2017): 7–41. http://dx.doi.org/10.46407/kjci.2017.12.86.7.
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Hill, Annette. "Push–Pull Dynamics." Television & New Media 17, no. 8 (August 1, 2016): 754–68. http://dx.doi.org/10.1177/1527476416658131.
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This article explores push–pull dynamics in television drama production and reception. Push–pull dynamics are understood as complicated power relations in the transactions between television industries and audiences. The research is underpinned by qualitative data, drawing on more than 170 participants in interviews, focus groups, and participant observations, with producers and audiences from Northern Europe and North and South America. A case study of The Bridge (FX, 2013–2014) crime drama and its adaptations is used to think through the idea of push–pull dynamics. A key question concerns how power is performed in television itself, referring to work in cultural studies and Williams’s notion of the television experience. The Bridge crime drama and its adaptations underscore the particularities of power for television industries and audiences: this is not a tale of surrender to global industrial forces; rather, this is a story of the reality of power and the struggle over how producers and audiences make sense of global television.
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Zhao, Shuhang. "Summary of the Presentation and Practice of Early Stage Art in Contemporary China." Transactions on Social Science, Education and Humanities Research 4 (March 12, 2024): 116–19. http://dx.doi.org/10.62051/1a4v5g88.
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The practice of early Chinese stage art is a key exploration to lay the foundation for the trend and development path of Chinese stage art style. Directors Xiaozhong Xu, Zhaohua Lin and Zuolin Huang, through their own influence and creation, guide the practice with the spirit of exploration, give back the audience with excellent drama works, respond to the history of contemporary Chinese drama, and show the future development of Chinese drama art. This paper takes the presentation and practice of early stage art in contemporary China as the starting point, follows the masters of contemporary drama art, and feels the artistic charm and spirit of the times distributed in the exploration process of early stage art in China.
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Yang, Ying, and Ke Qin. "Script Analysis and Directorial Concept in the Realm of Drama and Film." SHS Web of Conferences 183 (2024): 03017. http://dx.doi.org/10.1051/shsconf/202418303017.
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This academic article ventures into the complex and nuanced world of script analysis and directorial conceptualization in drama and film, shedding light on their significant impact on the creation and interpretation of cinematic works. It delves into how a script serves not only as a narrative blueprint but also as a springboard for creative exploration, allowing directors to infuse their unique artistic visions. The article examines the multifaceted process of script breakdown, character development, and thematic exploration, highlighting how directors interpret and adapt written narratives to the screen. It explores the symbiotic relationship between the written word and visual storytelling, emphasizing how directors' choices in cinematography, casting, and production design contribute to the overall narrative and emotional impact of a film. Through detailed analysis of case studies and directorial techniques, this study aims to reveal the intricate interplay between script and screen, offering insights into the transformative journey from script to cinematic masterpiece.
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Adams, Terry. "Producers, Directors, and Horizontal Communication in Television News Production." Journal of Broadcasting & Electronic Media 51, no. 2 (July 12, 2007): 337–54. http://dx.doi.org/10.1080/08838150701305032.
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Castillo, Jenny Paola Ortega. "Women Producers, Writers, Illustrators and Directors in BoJack Horseman." Film International 20, no. 4 (December 1, 2022): 7–29. http://dx.doi.org/10.1386/fint_00186_1.
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Kim, Doyoon, and Taeyang Kim. "Ecology of Culture Industries: Ecological Factors Affecting Drama Program Selection." Korean Academy of Management 32, no. 1 (February 29, 2024): 1–26. http://dx.doi.org/10.26856/kjom.2024.32.1.1.
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This study explores the industrial and structural factors that influence drama
program selection based on organizational ecology. Unlike previous studies
on media and broadcasting, in the case of cultural products like movies,
dramas, and TV programs, internal factors, such as producers, cast members,
and genres, have been studied for decision-making or box-office factors in
selecting cultural products. We propose that ecological factors, such as the
organization's age, the ecological niche's breadth, and the new competitors
outside an industry, due to technological development, will influence drama
selection. To investigate the effects of the liabilities of new organizations
and specialism on newly launching drama programs, along with the influence
of new competitors outside the industry, the research is empirically verified
based on data from 661 dramas aired in Korea from 2010 to 2021. As a
result, it was confirmed that all three hypotheses were significantly supported.
In addition to the internal factors of the drama program presented in the
existing theories, it was confirmed that the ecological factors of the external
environment in which the drama program is released and provided can affect
the decision-making in selecting cultural products, such as drama programs
and the organizational ecology. The enrichment of the discourse is the theoretical
implication of this study. Moreover, it draws attention to the changing competitive
environment in which drama programs are supplied and distributed
due to technological development. Additionally, it provides practical implications
to producers and practitioners in other cultural industries.
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Yoke Ling, Loh, and . "The Popularity of Asian Drama Series on Malaysian Television." International Journal of Engineering & Technology 7, no. 3.21 (August 8, 2018): 470. http://dx.doi.org/10.14419/ijet.v7i3.21.17215.
Full textAbstract:
The Asian drama series has reached high popularity level among local viewers since this popular culture has penetrated into our local entertainment industry. The scheduling of the government or the private television stations specific to Asian drama series has increased when the response is very encouraging from the local viewers. Viewers are an important commodity in the capitalist system whereby when a cultural product obtains high viewing rating, automatically the popularity is also going to be high. Thus, for these Asian dramas series to achieve popularity, they need to draw the interest and demand of viewers in this region, where it can be explained through the concept of regionalization. Regionalization gives the priority to the psychology and phenomenon about the cultural approach and the cultural discount. This concept justifies the phenomenon of Asian drama series popularity in the Asian region. The content analysis and interview have been used in this study to analyze the elements contained in the Asian drama series, and whether or not they contribute to their popularity also perspective from local drama producers towards this phenomenon. Similarities in terms of the theme, characterization and narratives contained in the popular Asian drama series in this current work are the method and approach adopted in this work to reduce the cultural discount whereby through this similarity it has started to build the identity and characteristics of the Asian drama series seen as accepted and welcome by Asian viewers- something which is known as the cultural approach. The outcome of the study also shows that from the mainstream theme, good scripts, the right choice of artists and appropriate theme songs in the drama that they contribute to high popularity and altogether leave an impact to the Malaysian TV industry. Producers are in full authority not only in executive work but also in terms of the creativity. The decision made by a producer of a drama is vital to render a drama series a success.
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Hong, Sungkee. "Protection of Drama Directors and Artistic Directors of Public Troupe on Filming of the Performing Art." Korea Copyright Commission 34, no. 1 (March 31, 2021): 33–61. http://dx.doi.org/10.30582/kdps.2021.34.1.33.
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Knorr, Alyse. "Staging Othello: Turning students into directors." Prompt: A Journal of Academic Writing Assignments 4, no. 1 (January 31, 2020): 41–49. http://dx.doi.org/10.31719/pjaw.v4i1.56.
Full textAbstract:
The *Othello* staging project invites introductory literature students to imagine that they are directing a new production of *Othello*. Students create a production proposal and poster that illustrate their directorial choices, using their original interpretation of the play as a guiding philosophy. This assignment successfully addresses many of the challenges associated with teaching an introductory-level, required "core" course of non-English-majors, as well as the challenges of teaching drama in general and Shakespeare in particular. Creative response assignments like this prompt can foster student engagement, mitigate student writing anxiety, and deepen student understandings of plays as living documents open to artistic interpretation.
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de Bruin, Joost, and Joke Hermes. "The Popularisation of Dutch TV Drama and the Rise of Multicultural Police Series." Media International Australia 115, no. 1 (May 2005): 60–70. http://dx.doi.org/10.1177/1329878x0511500107.
Full textAbstract:
The Dutch police series is a new TV drama genre in the Netherlands. During the last five years, several broadcasters have aired new domestic police series, leading the sub-genre to gain a stable position in the prime-time television schedules. This paper analyses the major transitions that have led to the prevalence of Dutch police series: the shift from a public to a dual system of broadcasting in the Netherlands; the transition from broadcasters each producing their own drama to participation of independent producers; the change from the single play as the main genre of Dutch TV drama to the expansion of popular drama genres such as soaps, police series and sitcoms; and, most importantly, an alteration in the identities that are represented in the storylines of Dutch TV drama. A close look at these transitions shows how the Dutch police series became a remarkably ‘multicultural’ drama form.
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Avila, Elaine, and Kathleen Weiss. "Devising Quality: A Playwright’s Perspective A Director’s Perspective." Canadian Theatre Review 135 (June 2008): 117–20. http://dx.doi.org/10.3138/ctr.135.027.
Full textAbstract:
A playwright devises work in her room alone, shares it with a company/close collaborator, and then lets the world, space, production and visions of the directors, producers and actors affect her. Although I imagine my plays being done in a theatre, they almost never are. Innovative companies and directors, including Kathleen Weiss and Amiel Gladstone, have produced most of my work.
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Talvet, Jüri, and Chen Dahong. "Contemporary Drama and Theatre in Estonia. Conversing with Drama Directors Lembit Peterson, Tiit Palu and Ivar Põllu." Interlitteraria 25, no. 1 (June 30, 2020): 260–72. http://dx.doi.org/10.12697/il.2020.25.1.21.
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