Academic literature on the topic 'Eco-drama'
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Journal articles on the topic "Eco-drama"
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Cosh, Jackie. "Exploring Eco Drama." Primary Teacher Update 2012, no. 10 (July 2012): 32–33. http://dx.doi.org/10.12968/prtu.2012.1.10.32.
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Li, Sainan, and Zi Li. "The Translational Eco-environment of Pinteresque Language and the Construction of Audience Acceptance Space." Theory and Practice in Language Studies 8, no. 11 (November 1, 2018): 1449. http://dx.doi.org/10.17507/tpls.0811.09.
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This study applied eco-translatology to drama translation. It’s showed that the key to successful drama translation is how to properly deal with various elements in the ecological environment of drama translation, and always take the interpretation and acceptance of the actors and the audiences in the target language as an important criterion. Therefore, under the perspective of eco-translatology, three features of the translation of Pinteresque language, namely the life-oriented, action-directed and character-targeted features, need to be realized to complete the construction of audience's acceptance space, so that more audiences in the Chinese mainland can enjoy and fully appreciate the beauty of Pinter's outstanding drama.
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Hoły-Łuczaj, Magdalena. "On the Absence of Eco-phenomenology in Poland." Miscellanea Anthropologica et Sociologica 20, no. 1 (May 25, 2019): 196–209. http://dx.doi.org/10.26881/maes.2019.1.10.
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The paper aims to identify and explain the absence of eco-phenomenological perspective in Polish philosophy. Eco-phenomenology, which emerged as the specialized area of phenomenological movement in the 1980s, explores relations between human beings and nature. The lack of it in Poland, as the paper argues, is not only due to the specific political situation, but primarily because of the great impact of Jozef Tischner’s “philosophy of drama,” which has strongly anthropocentric implications.
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Elizabeth, K. Mary. "Performing the Elements in Indian Eco-Theatre: Deepan Sivaraman’s The Legends of Khasak." Modern Drama 64, no. 2 (June 2021): 218–37. http://dx.doi.org/10.3138/md.64.2.1115.
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This article considers The Legends of Khasak, a Malayalam play by Deepan Sivaraman, as a landmark Indian eco-theatrical production. I argue for the play as an important development in a nascent Indian eco-theatre, telling an ecologically significant tale about the relationship between humans and nature through performative and scenographic innovations that transform the theatrical space into a sacred grove, a place of deep significance in terms of ecological balance. This essay elaborates on how the play celebrates the pancha bhutas, the five elements of nature, by displaying their agency and invoking the pancha indriyas, or the five pathways of human perception, and thereby awakening an awareness of our status as ecological beings enmeshed in the non-human world. In The Legends of Khasak, Sivaraman has evolved an eco-material aesthetics of performance that, influenced by traditional folk performance forms and rituals and post-independence syncretic theatre, makes a lasting contribution to the development of an Indian eco-drama.
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Appleby, Ellen. "Mrs Blue Gum, Some Puppets and a Remnant Forest: Towards Sustainability Education through Drama Pedagogy." Australian Journal of Environmental Education 21 (2005): 1–10. http://dx.doi.org/10.1017/s0814062600000902.
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AbstractThis paper focuses on a case study of the collaborative development of an environmental education unit involving the use of puppetry and drama. The collaboration was between an experienced classroom teacher beginning to use drama, and a drama/environmental educator and researcher. The critical lens for the analysis was sustainability education, including how this aligns with some recent theory on multiplist and evaluativist meaning-making. It is argued that these modes of meaning-making are necessary pedagogical goals of an eco-connected pedagogy. This case study showed that collaborative planning, implementation and reflection of drama pedagogy was not only a catalyst for more complex and deeper levels of meaning-making for the classroom teacher, but also prompted discussion about other important issues such as the quality of student engagement, classroom power dynamics and authentic assessment. In addition the teacher observed a range of outcomes achieved by her students that align with sustainability education as they became immersed in a dramatic world. In particular she observed that the students, through role-playing and writing about points of view not necessarily their own, developed deeper understandings demonstrating multiplist and evaluativist meaning creation.
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Harrow, Kenneth. "Time and ecology in African cinema: Pumzi and Felix in Exile." International Journal of Francophone Studies 23, no. 3 (December 1, 2020): 289–306. http://dx.doi.org/10.1386/ijfs_00023_7.
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This article examines how time and space-time relate to eco-critical films and their charge of intervening in issues dealing with environmentalism. From the earliest films the question of capturing the truth gave impetus to the desire to represent reality accurately, including its social and political ‘truths’. Increasing concerns over the environment have come to mean that filmmakers have also felt the necessity to present eco-critical dramas. The drama has been how to create environmentally significant films without condescending to the viewers. The key question Rob Nixon poses in Slow Violence and the Environmentalism of the Poor might be how the social-economic order, over time, informs the health of the environment and the conditions of life for the working class. Two short films and the Green Belt Movement extend that question: Pumzi asks how a future marked by nuclear disaster might be survived by the sacrifice of an exceptional woman; Felix in Exile asks how the brutal practices of Apartheid might be survived. In both cases the questions of space and time prove to be basic, opening the possibility of joining the concept of space-time to eco-critical thought.
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AGOZIE, Uzochukwu Ugwu. "Dramaturgy of Social Relevance and Conflict Resolution: A Dialectical Study of The Wives Revolt by JP Clark’s." Nile Journal of English Studies 1, no. 1 (March 7, 2016): 87. http://dx.doi.org/10.20321/nilejes.v1i1.40.
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<strong><strong></strong></strong><p>Drama arguably stimulates change in the society through its ability to modify human minds and through the harmonisation of human impulses. It uses images easily identifiable by the members of the society and presents it before the society, provides a dramatic experience of the social realities bedevilling the society and thus creates awareness and consciousness. Some of the issues drama of social relevance addresses includes conflict resolution, security issues, and community development among others. This paper explores the efficacy of JP Clark’s The Wives’ Revolt as a veritable tool for the resolution of conflict in the Niger Delta. Clark in this play advocates for a non-violent form of protest as a workable alternative towards the resolution of conflict in the oil rich Niger Delta. The cauldron of contradiction that characterises the movement for the emancipation of the people of Niger-Delta does not only negate the actualisation of the emancipation goals. Violence has turned the agitation of the people of the Nigeria Delta area of Nigeria out of many years of environmental havoc; the collapse of their eco-system and economic crisis into serious conflict. Vendetta and gratification have eaten deep into the fabric of this society and nothing is being done in terms of the emancipation of the natives at the grassroots who suffer high profile effects of the destruction of their eco-system through oil spillage. This paper uses the peaceful suggestions Clark makes in The Wives’ Revolt as pointers or viable alternatives for the simulation of change and resolution of conflict not just in the Niger-Delta but other parts of Nigeria suffering from any form of violent crisis.</p>
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Inkret, Andreja. "Aias Mastigophoros: Divine Ostentation within a Play." Clotho 1, no. 2 (February 8, 2020): 17–33. http://dx.doi.org/10.4312/clotho.1.2.17-33.
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In this paper, I analyse a short scene that forms part of the opening of Sophokles’ Aias (66-133): Aias, suffering from madness, that was inflicted upon him by Athena, is displayed by the goddess to Odysseus. In the corpus of extant ancient drama, this inset appears to be unique; its expressive power seems to be derived from the scene's specific structure that in many important ways doubles integral elements of theatre. I rationalize the reasons why the scene has been often labelled “a play-within-a-play”, describing and illustrating elements that can be paralleled with structural components of theatre. Taking as a basis some concepts and ideas proposed by modern theatre theoreticians (Anne Ubersfeld, Tadeusz Kowzan, Umberto Eco), I argue that the essence of the performative dimension of the scene is to be found in the phenomenon of “ostentation act” as first described by Umberto Eco. Tracing the meaning of the inset within the tragedy as a whole, I lay great emphasis on the fact that the “ostentation” in Aias is a divine creation, and examine how Odysseus, who is a privileged recipient of the spectacle, reacts to the display of Aias' shameful condition.
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Gkiatas, G., I. Kasapidis, P. Koutalakis, V. Iakovoglou, A. Savvopoulou, I. Germantzidis, and G. N. Zaimes. "Enhancing urban and sub-urban riparian areas through ecosystem services and ecotourism activities." Water Supply 21, no. 6 (April 16, 2021): 2974–88. http://dx.doi.org/10.2166/ws.2021.114.
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Abstract Riparian ecosystems in urban environments are usually degraded. Their sustainable management can reduce water pollution, mitigate climate change while providing recreation opportunities. This study assessed the current condition of the streams/torrents and their riparian areas in the city of Drama in Greece. In addition, practices to improve their functionality and enhance community awareness were recommended. A spatial database of the wider urban setting including suburbs and rural areas (weather, land cover, soils, roads, protected areas, riparian areas, etc.) was developed within GIS. The datasets were then inputted in a hydrologic model to simulate the water balance and stream discharge in the main urban streams and torrents. Field measurements of stream water discharge, and vegetation and stream channel conditions were undertaken using two visual protocols. The results of the protocols indicate that most streams/torrents and their riparian areas are of low ecological quality. Nature-based solutions were recommended to improve their ecological quality. In addition, the implementation of Eco-Routes was recommended to enhance the awareness of their importance and to promote their sustainable management. Overall, the urban streams/torrents and riparian ecosystems of Drama are degraded and innovative management practices should be implemented to conserve them and feature their ecosystem services.
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Логинова, Е. Г. "The notion of the arts as “unnatural natural” communication (exemplified by the discourse of drama)." Иностранные языки в высшей школе, no. 3(54) (December 18, 2020): 88–96. http://dx.doi.org/10.37724/rsu.2020.54.3.008.
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В статье предпринимается попытка применить ряд положений когнитивной поэтики, семиотики и лингвистики к традиционным вопросам филологического анализа литературно-художественного дискурса, взятого как пример художественной коммуникации. Обосновывая понятие «неестественной естественности» художественной коммуникации, автор обращается к инструменту, способному обеспечить иной уровень анализа художественного дискурса, включающего исходный и трансформированный тексты (пьесу и ее сценическую интерпретацию), когда изучение смыслоформирования в едином коммуникативном пространстве происходит с учетом параллелизма форм, значений и прагматических установок говорящих. The article attempts to apply a number of provisions of cognitive poetics, semiotics and linguistics to the traditional philological analysis of literary works. Justifying the concept of the arts as “unnatural natural” communication (including literary works, theatrical performances, screen adaptions, paintings, etc.), the author relies on the key assumptions expressed in the works by Yu. Lotman, U. Eco, R. Barthes, R. Jacobson, T. van Dijk, M. Freeman and other scholars: “the second (modeling) system”; “literary pragmatics”; “oriented toward the expressive, the emotive and the aesthetic”; etc. The heterogeneous discourse of drama is used to exemplify the theoretical assumptions and so helps to grasp the idea of the arts as “unnatural natural” communication. Moreover, the author of the article speaks of semiotic resonance as a tool that can help to deepen the analysis of the meaning construction in the discourse of drama. Being a multifaceted phenomenon, semiotic resonance provides new perspectives for the analysis of the discourse of drama, when the study of the aesthetic effect of the communicative space as a whole takes into account the parallelism of forms, meanings and pragmatic attitudes of the characters in the original communicative situation and further communicative situations.
Dissertations / Theses on the topic "Eco-drama"
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Powell, Ruth M., and n/a. "Drama, as a technique that can be used in environmental interpretation and education." University of Canberra. Resource, Environmental & Heritage Sciences, 1995. http://erl.canberra.edu.au./public/adt-AUC20061106.132559.
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This work endorses the need for environmental interpretation and education because
of the threat to the natural environment as a result of the lack of understanding and
knowledge of environmental issues. The writer's personal perspective on the
environment is described. There is a strong advocacy for the use of the fine arts in
interpretative programmes as a way of reaching audiences, and particularly those
individuals who learn through an abstract/symbolic modality. The use of drama is
explored as one of the fine arts media through which all visitors to natural sites can
gain information , experience personal growth, and develop an understanding of
their relationship to the natural world. A study was conducted in which a
questionnaire, which posed 36 questions related to common practices and
experiences, and the use of drama as a medium in environmental interpretation and
education, was used in interviewing representatives of 18 organisations, 9 in Canada
and 9 in Australia, involved in environmental education. The responses to the
questionnaire are summarised and discussed. Of those interviewed, most of the
Australian and Canadian respondents were aware of the need to use a variety of
techniques when developing programmes, had used drama in their programmes, had
all attended programmes where drama was used as the interpretative medium, and
were positive about their experiences. More than two thirds of the respondents
from Australia and Canada indicated that drama should be given a high priority in
environmental interpretation and education in the future. Information on two
children's eco-drama programmes and two workshops for adults on the use of
drama in environmental interpretation and education is also included.
Books on the topic "Eco-drama"
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Klein, Jon. Betty the yeti: An eco-fable. New York: Dramatists Play Service, 1995.
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Burkert, Walter. Oedipus, oracles, and meaning: From Sophocles to Umberto Eco. Toronto: University of Toronto, 1991.
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Martin, Randall. Shakespeare and Ecology. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199567027.001.0001.
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Shakespeare and Ecology is the first book to explore the topical contexts that shaped the environmental knowledge and politics of Shakespeare and his audiences. Early modern England experienced unprecedented environmental challenges including climate change, population growth, resource shortfalls, and habitat destruction which anticipate today's globally magnified crises. Shakespeare wove these events into the poetic textures and embodied action of his drama, contributing to the formation of a public ecological consciousness, while opening creative pathways for re-imagining future human relationships with the natural world and non-human life. This book begins with an overview of ecological modernity across Shakespeare's work before focusing on three major environmental controversies in particular plays: deforestation in The Merry Wives of Windsor and The Tempest; profit-driven agriculture in As You Like It; and gunpowder warfare and remedial cultivation in Henry IV Parts One and Two, Henry V, and Macbeth. A fourth chapter examines the interdependency of local and global eco-relations in Cymbeline, and the final chapter explores Darwinian micro-ecologies in Hamlet and Antony and Cleopatra. An epilogue suggests that Shakespeare's greatest potential for mobilizing modern ecological ideas and practices lies in contemporary performance. Shakespeare and Ecology illuminates the historical antecedents of modern ecological knowledge and activism, and explores Shakespeare's capacity for generating imaginative and performative responses to today's environmental challenges.
Book chapters on the topic "Eco-drama"
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Fraunhofer, Hedwig. "Bare Life, or Becoming-Animal." In Biopolitics, Materiality and Meaning in Modern European Drama, 129–69. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467438.003.0004.
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Arguably moving beyond the anthropocentric “dramatic” tradition in both form and content, Brecht’s early theatrical work explores the setting beyond its function as décor. Instead, as Brecht writes, the “environment acquires the quality of a process”, becoming an integrated, constantly changing mesh of agentive biological and more-than-biological bodies. Brecht’s first full-length play, Baal, enacts the human title character’s transgressive unity with this environment. The dynamic formal structure of the play intra-acts with the play’s enactment of a live natural ecology or bare life from which the title character comes and to which he returns. In contrast to Brecht’s later, more didactically oriented work, the play’s structure is a non-linear productive assemblage rather than a receptacle of “content.” Providing an alternative to the trajectory towards twentieth century immunitarian fascism, Brecht’s early theatrical work puts in play the ontological status of the human, in a paradigmatic shift beyond the mere representation of the characters’ ontological anxiety in Strindberg, and in a theatrical vision pre-figuring absurd theatre and contemporary eco-drama.