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Academic literature on the topic 'Executions and executioners – drama'

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Published: 25 July 2024

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Journal articles on the topic "Executions and executioners – drama"

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Blas Ortega, Mariano de. "Cuadros de fusilamientos, ss. xx-xxi. De la mímesis al fantasma." Bellas Artes. Revista de Artes plásticas, Estética, Diseño e Imagen, no. 15 (2021): 11–32. http://dx.doi.org/10.25145/j.bbaa.2021.15.01.

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This is a study of several visual works under the theme of shooting and war as a drama and as a brutalizing element that begins Goya with his Third of May 1808. The common thread is the mimesis of the formal elements in different arguments and artistic presentations located in the xx and xxi centuries. One stream maintains a formal relationship of rows of executioners and victims and another starts with the Guernica who only takes from the Third of May some formal elements while the executioners are a reference and the victims are bombed and not shot. These two currents are maintained in the paradigmatic examples studied under different artists, means and approaches, going from imitation to the concept of copying as a culmination of mimesis. Finally, the artist Ballester empties the reference paintings of their figures that only reappear as ghosts in the memory of the look.
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Bouchard, Michel Marc, Linda Gaboriau, Robert Astle, Agnes Limbos, Anne Szumigalski, and R. A. Bonham. "The Orphan Muses; Heart of a Dog, Z: A Meditation on Oppression, Desire, and Freedom." Canadian Theatre Review 86 (March 1996): 63–64. http://dx.doi.org/10.3138/ctr.86.014.

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One of Quebec’s distinguished young playwrights, Michel Marc Bouchard, has tried his hand at a range of theatrical forms, from black comedy to political allegory, and yet admits the consistent thematic thread of “victims become executioners”. A family drama first staged in 1988,The Orphan Muses (Les Muses orphelines), incorporates recent textual revisions. Linda Gaboriau’s translation is crisp and vital, important qualities in a play that frequently comments on writing and language.
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Stewart, Riley S. ""Then their heirs may prosper while mine bleeds": Legal Renege, Witnessing, and Child Corpses in Two Lamentable Tragedies and A Yorkshire Tragedy." Romard 59 (2022): 93–111. http://dx.doi.org/10.32773/nwbc5428.

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There has been a great deal of scholarly focus on the children of William Shakespeare’s plays, where violence to their bodies interrogate history, inheritance, and political ascension. Attending to the drama of Shakespeare’s contemporaries, however, reveals that the staging of children also emphasized the stakes of oath breaking, legal renege, and violence to children within non-royal families. This article examines the didactic legal possibilities of early modern English drama outside the Inns of Court tradition and Shakespearean canon. I examine two early seventeenth-century domestic tragedies that dramatize violent child murders: Robert Yarington’s Two Lamentable Tragedies (1601) and Thomas Middleton’s A Yorkshire Tragedy (1608). The domestic space occupied by both sets of caregivers and children illustrates the effects of crime on the community, the difficulties of law enforcement, and the early modern justice system broadly. I suggest the implied executions of the failed caregivers and their pre-death lamentations stage the legal repercussions of oath-breaking and child violence. Through a combination of rhetorical and performance strategies, these texts implicate playgoers as witnesses to child-murder, interrogating assumptions about the extent that the law can protect children.
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Mrozowicki, Michał Piotr. "Tannhäuser rehabilitated (III) – Eugène d’Harcourt’s concert." Cahiers ERTA, no. 25 (2021): 81–104. http://dx.doi.org/10.4467/23538953ce.20.024.13548.

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In November and December 1894, a few months before the work’s reappearance on the Parisian stage, its very important selection (including especially the entire first and third acts) was presented by the count Eugène d’Harcourt, – by the way member of the elitist Jockey’s Club – during his “eclectic concerts” at the rue Rochechouart’s Salle de Concerts. The author of the article recalls juridical and artistic controversies provoked by these executions of Wagner’s opera. Tannhäuser’s fourth performance at Paris Opera’s stage was preceded, in the spring of 1895, by many publications, books and articles devoted to Wagner’s masterpiece. The most important, Étude sur « Tannhäuser » de Richard Wagner. Analyse et guide thématique, was written by Alfred Ernst and Élie Poirée who tried to show the value of Tannhäuser, considered already as a musical drama and an important stage of the composer’s evolution.
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McGowen, Randall. "Civilizing Punishment: The End of the Public Execution in England." Journal of British Studies 33, no. 3 (July 1994): 257–82. http://dx.doi.org/10.1086/386055.

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On August 14, 1868, Thomas Wells was executed behind prison walls in Maidstone. According to the The Times, the event passed off so quietly that the public perhaps failed to note the significance of the occasion. With his death the drama of the public execution came to an end. “It is,” the newspaper explained, “emphatically one of those reforms which are hard to realize before they are made, but which, once made, seem so simple and unobjectionable that they are treated almost as a matter of course.” On the face of it, this passage seems to capture the salient features of the episode. In the decades leading up to abolition, opinion was deeply divided about the value of the death penalty and the wisdom of public executions. The Times itself, almost to the last moment, resisted the change. But once the issue was resolved in favor of privacy, no voice demanded their return. There were no demonstrations protesting the reform. Even the arguments once used to defend the publicity of punishment disappeared from view.But The Times meant something more by the phrase “one of those reforms.” It indicated a belief that the abolition belonged to a special category of measures, those that contributed to the progress of civilization in England. The idea that civilization demanded the end of the public execution figured prominently in reform arguments, and occupied just as important a place in later interpretations of the change. A liberal member of Parliament, John Hibbert, in pointing to an execution in 1866, explained that “no one anxious to promote civilization could wish to see the recurrence of a scene of that kind.”
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DeWindt, Anne Reiber. "Witchcraft and Conflicting Visions of the Ideal Village Community." Journal of British Studies 34, no. 4 (October 1995): 427–63. http://dx.doi.org/10.1086/386086.

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In the fallen world, communities (patterns of interaction) are endlessly dying and being born. The historian's job is to specify what, at a given moment, is changing into or being annihilated by what.In the fall of 1589, ten-year-old Jane Throckmorton pointed to the old woman who had settled into a seat in her family's cavernous stone hearth and cried out, “Looke where the old witch sitteth … did you ever see … one more like a witch then she is?” With those words the child set in motion a four-year-long drama that culminated in the hanging of three of her neighbors from their fenland village of Warboys in north Huntingdonshire. Within weeks after the executions, Jane's father and uncle, with the help of a trial judge and the local parson, published their version of this tragic story in a pamphlet that now resides in the British Library.After Jane Throckmorton and her sisters had shared symptoms such as violent sneezing and grotesque seizures for several weeks, and two medical doctors at Cambridge had suggested the possibility of witchcraft, Gilbert Pickering—a relative from Northamptonshire—arrived at the Warboys manor house to conduct numerous experiments with Jane and her neighbor, Alice Samuel. His intention was to demonstrate that the old woman was the cause of the girl's symptoms. In February 1590 one of the sisters was taken to the Pickering home in Northamptonshire where the results of further experiments were recorded for eventual inclusion in the pamphlet.
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Ahmed Al-Azzawy, Qusay Jaddoa. "The Concept of Death in William Shakespeare's Macbeth and Arthur Miller's The Crucible." JOURNAL OF LANGUAGE STUDIES 8, no. 6 (June 30, 2024): 114–24. http://dx.doi.org/10.25130/lang.8.6.7.

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This paper aims to examine the concept of “death” in William Shakespeare's Macbeth and Arthur Miller's The Crucible in an analytical method as these two plays are filled with murder, executions, and assassinations. These plays show the subject of death in classical and modern drama by the two famous playwrights. The paper is divided into two parts: the first part tackles Shakespeare's Macbeth in (1606) and how the idea of death occupies a great place as the hero falls dead in the end. The second discusses Miller's The Crucible and the tragic events that put to death many people, fearing to spread the thoughts of communists in America. It also reveals people who are hung, crushed, and stifled by society powers, which filled its citizens' minds with certain myths, witchcraft and superstitions that may be against ethics and honor. The concept of “death” will be analyzed in two methods, the first one is a symbolic, spiritual, method while the second is a physical method. These two methods will examine the main characters. The death is the main feature that includes the heroes of selected plays to achieve nobility and perception. Consequently, this paper attempts to show how the dramatists succeed in providing a moral and human lesson to readers around the world, as well as changing this terrible truth of murder into something highly meaningful that it is a step towards the eternal life.
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Chiappetta, Casey, and Robert Johnson. "“It’s Not Gonna Leave Any Scars”: Trauma and Coping Among Execution Team Members." Prison Journal 101, no. 4 (July 7, 2021): 379–97. http://dx.doi.org/10.1177/00328855211029623.

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A trauma framework is applied to the experiences of execution team members. A directed content analysis of three seminal publications is used to investigate how execution team members respond to observing and participating in executions, a potentially traumatic stressor. Through these texts, supplemented by other research, the study finds that the execution process, meant to facilitate executions and insulate execution team officers from stress, only partially achieves these goals. The findings suggest that many of the concepts central to understanding executioners at work—how they understand and cope with their roles—are dynamic rather than static and vary in degree across persons and situations. Execution team officers report varying degrees of difficulty fully rationalizing and diffusing responsibility for their actions, ultimately leading to internal conflict and stress about the death penalty and participation in executions.
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Fabisiak, Ilona. "Poetyka współczesnego teatru faktu – Rozmowy z katem oraz Golgota wrocławska jako znaczące realizacje gatunku." Colloquia Litteraria 7, no. 2 (November 20, 2016): 61. http://dx.doi.org/10.21697/cl.2009.2.03.

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The Poetics of Contemporary Non-fiction Theatre – Conversations with an Executioner and Wrocław Via Dolorosa as Significant Representations of the Genre The aim of the article is to examine the specificity of theatrical performances based on historical documents and carried out as part of a Television Theatre.The author of the paper observes the described phenomenon from a broad perspective and ponders on current and past characteristics of a nonfiction theatre. She endeavours to bring the reader close to the origins of a TV Non-fiction Theatre and to the idea of this enterprise. The first part of the article focuses on the historical development of a theatrical genre, which is a documentary drama (docudrama). A special attention is drawn to its links with a political theatre, for instance to Piscator’s and Brecht’s artistic activities.The discussion about a contemporary phenomenon of the Non-Fiction Theatre is based on the description of the two selected stage performances – Conversations with an Executioner and Wrocław Via Dolorosa. Similarly to many other spectacles of this genre these plays rediscover the Stalin era. The action of the spectacles takes place in Poland at the end of the 1940s and their protagonists are people persecuted during that system. Conversations with an Executioner directedby Maciej Englert (the premiere was in 2007) is the adaptation of a widely known Kazimierz Moczarski’s book under the same title. Wrocław Via Dolorosa written by Piotr Kokociński and Krzysztof Szwagrzyk, and directed by Jan Komasa (the premiere: 2008) recounts the story of a ruthless investigation and a fabricated process that took place in Wrocław. The ruminations on both these stage performances lead to the conclusion that a theatrical reconstruction of true events may currently play key roles. The critics draw the attention to the fact that both the spectacles have not only educational and documentary dimensions. They, first and foremost, revive the interest in the most recent history provoking the debates over stalinism. By showing an individual drama they make the viewer identify with historical characters and therefore the very history appears closer to him/her. The author assumes that if the non-fiction theatre avoids certain mistakes that are imputed to it (such as conventionality, martyrdom, direct didacticism) it will still constitute a significant element of contemporary culture.
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Chrószcz, Aleksander, Dominik Poradowski, Paweł Duma, Maciej Janeczek, and Przemysław Spychalski. "The Early Modern Silesian Gallows (15th–19th Century) as an Example of Stray Animals Utilization before the Rise of Institutional Veterinary Care." Animals 11, no. 5 (April 22, 2021): 1210. http://dx.doi.org/10.3390/ani11051210.

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In the past, executioners played an important role in the legal system. Besides sentence executions, they also worked as dogcatchers (i.e., eliminating stray animals or cadavers of dead animals from towns), and were responsible for sanitary conditions within their towns and closest neighborhoods. Archaeological explorations of gallows in the towns of Lower Silesia (Poland) provide evidence of such activities, including animal skeletal remains. Archaeozoological analysis of these materials from the towns Kamienna Góra (Landeshut), Złotoryja (Goldberg), and Jelenia Góra (Hirschberg) are the subjects of this study. Our work also stresses the nature of the executioner’s profession in animal health control and town hygiene maintenance before the development of modern veterinary services. The results show significant differences in the frequency of species and distribution of anatomical elements in accessible assemblages compared with animal skeletal remains unearthed in typical waste pits or classical inhumation, allowing the assumption that the animals were anatomically adults, and their health statuses were generally good. The dominant species, equids and dogs, were represented by skeletal remains, with the predominance of less valuable body parts (distal parts of appendices, caudal parts of the vertebral column). The fragmentation of accessible bone assemblages narrows the ability of larger conclusions (i.e., minimum number of individual estimations). The work enlightens the complex role of executioners pertaining to the hygiene of early modern town communities, a role later replaced by professional veterinarians with all of the consequences of the transition process.
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Dissertations / Theses on the topic "Executions and executioners – drama"

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Yardy, Danielle. "Stake and stage : judicial burning and Elizabethan theatre, 1587-1592." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c90c5635-2258-4213-a445-4bfaf67d24d7.

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This thesis is the first sustained analysis of the relationship between Elizabethan theatre and the judicial practice of burning at the stake. Focusing on a five-year window of theatrical output (1587-1592), it argues that polemical literary presentations of burning are the key to understanding the stage's negotiation of this most particular form of judicial violence. Unlike other forms of penal violence, burning at the stake was not staged, and only fourteen incidences of the punishment are recorded in Elizabethan England. Its strong literary presence in Protestant historiography is therefore central to this study. Part I explores the tragic and overtly theatrical rhetoric that the widely available Acts and Monuments built around the burning of heretics in the reformation, and argues that the narrative of this drama of injustice intervened in the development of judicial semiotics over the late-sixteenth century. By the time that Tamburlaine was first performed, burning at the stake was a pressing polemical issue, and it haunts early commercial theatre. Elizabethan historiography of the stake was deeply influential in Elizabethan theatre. In Part II, I argue that Marlovian fire spectacles evoke tableaux from the Acts and Monuments to encourage partisan spectatorship, informed by the rhetoric of martyrdom. Dido's self-immolation courts this rhetoric by dismissing the sword from her death, while Tamburlaine's book burning is condemned through its emphatically papist undertones. These plays court the stake through spectacles utilizing its rhetoric. In Part III, I show that characters historically destined to face the stake required thorough criminalization to justify their sentence. Alice Arden is distinguished from female martyrs celebrated for their domestic defiance, while Jeanne d'Arc's historical heresy is forcefully rewritten as witchcraft and whoredom to condemn 1 Henry VI's Joan la Pucelle. Both women are punished offstage, and the plays focus instead on the necessary task of justifying the sentence of burning. Though rare in practice, burning at the stake was a polemical issue in Elizabethan England. Despite the stake's lack of imitation in the theatre, I argue that widely available Protestant historiography - propaganda at the heart of debates about burning and religious violence - affected both how plays were written, and how they could be viewed.
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Friedman, Toba Malka. "At the block all hero he appear'd noble execution and redemption in Tudor England. /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973051371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Klemettilä, Hannele. "Epitomes of evil : representations of executioners in northern France and the Low Countries in the late middle ages /." Turnhout : Brepolis, 2006. http://www.gbv.de/dms/spk/sbb/recht/toc/519371763.pdf.

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Guess, Teresa J. "Ritual action & death penalty abolition : a case study /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946258.

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Malone, Dan F. "Dead Men Talking: Content Analysis of Prisoners' Last Words, Innocence Claims and News Coverage from Texas' Death Row." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5358/.

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Condemned prisoners in Texas and most other states are given an opportunity to make a final statement in the last moments before death. An anecdotal review by the author of this study over the last 15 years indicates that condemned prisoners use the opportunity for a variety of purposes. They ask forgiveness, explain themselves, lash out at accusers, rail at the system, read poems, say goodbyes to friends and family, praise God, curse fate - and assert their innocence with their last breaths. The final words also are typically heard by a select group of witnesses, which may include a prisoner's family and friends, victim's relatives, and one or more journalists. What the public knows about a particular condemned person's statement largely depends on what the journalists who witness the executions chose to include in their accounts of executions, the accuracy of their notes, and the completeness of the statements that are recorded on departments of correction websites or records. This paper will examine, through rhetorical and content analyses, the final words of the 355 prisoners who were executed in Texas between 1976 and 2005, identify those who made unequivocal claims of innocence in their final statements, and analyze news coverage of their executions by the Associated Press.
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Foust, Kristan Ewin. "Exposing the Spectacular Body: The Wheel, Hanging, Impaling, Placarding, and Crucifixion in the Ancient World." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062805/.

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This dissertation brings the Ancient Near Eastern practice of the wheel, hanging, impaling, placarding, and crucifixion (WHIPC) into the scholarship of crucifixion, which has been too dominated by the Greek and Roman practice. WHIPC can be defined as the exposure of a body via affixing, by any means, to a structure, wooden or otherwise, for public display (Chapter 2). Linguistic analysis of relevant sources in several languages (including Egyptian hieroglyphics, Sumerian, Hebrew, Hittite, Old Persian, all phases of ancient Greek, and Latin) shows that because of imprecise terminology, any realistic definition of WHIPC must be broad (Chapter 3). Using methodologies and interdisciplinary approaches drawn from art history, archaeology, linguistic analysis, and digital humanities, this work analyzes scattered but abundant evidence to piece together theories about who was crucified, when, how, where, and why. The dissertation proves that WHIPC records, written and visual, were kept for three primary functions: to advertise power, to punish and deter, and to perform magical rituals or fulfill religious obligations. Manifestations of these three functions come through WHIPC in mythology (see especially Chapter 4), trophies (Chapter 5), spectacles, propaganda, political commentary, executions, corrective torture, behavior modification or prevention, donative sacrifices, scapegoat offerings, curses, and healing rituals. WHIPC also served as a mode of human and animal sacrifice (Chapter 6). Regarding the treatment of the body, several examples reveal cultural contexts for nudity and bone-breaking, which often accompanied WHIPC (Chapter 7). In the frequent instances where burial was forbidden a second penalty, played out in the afterlife, was intended. Contrary to some modern assertions, implementation of crucifixion was not limited by gender or status (Chapter 8). WHIPC often occurred along roads or on hills and mountains, or in in liminal spaces such as doorways, cliffs, city gates, and city walls (Chapter 9). From the Sumerians to the Romans, exposing and displaying the bodies consistently functioned as a display of power, punishment and prevention of undesirable behavior, and held religious and magical significance. Exposure punishments have been pervasive and global since the beginning of recorded time, and indeed, this treatment of the body is still practiced today. It seems no culture has escaped this form of physical abuse.
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Books on the topic "Executions and executioners – drama"

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Ulick, O'Connor. Executions. Dingle, Co. Kerry, Ireland: Brandon, 1992.

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Radzinskiĭ, Ėdvard. Napoleon: Zhiznʹ posle smerti : [drama vremen Velikoĭ Fran︠t︡suzskoĭ revol︠i︡u︠t︡sii v trekh deĭstvi︠i︡akh]. Moskva: Argumenty i fakty, 2005.

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Coxe, Louis Osborne. Billy Budd. New York: Hill and Wang, 1989.

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Yourgrau, Tug. The song of Jacob Zulu. New York: Arcade Publishing, 1993.

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Onukaba, Adinoyi Ojo. The killing swamp: A play. Ibadan, Nigeria: Caltop Publications (Nigeria) Limited, 2009.

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Morriss, William E. Watch the rope. [Winnipeg]: Watson & Dwyer, 1996.

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Ward, Amanda Eyre. Sleep toward heaven: A novel. San Francisco: MacAdam/Cage, 2003.

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Ward, Amanda Eyre. Sleep toward heaven: A novel. New York: Perennial, 2003.

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Arthur, Miller. Resurrection blues: A prologue and two acts. New York: Penguin Books, 2006.

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Arthur, Miller. Resurrection blues: A prologue and two acts. New York, NY: Penguin Books, 2006.

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Book chapters on the topic "Executions and executioners – drama"

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Puccioni, Linda. "Codificazione della violenza: l’Elektra di Hugo von Hofmannsthal." In Studi di letterature moderne e comparate, 95–106. Florence: Firenze University Press, USiena Press, 2023. http://dx.doi.org/10.36253/979-12-215-0278-7.08.

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Hugo von Hofmannsthal's Elektra constitutes an important turning point in the transition from early lyric to theatre. Inspired by Sophocles' drama, but with elements more similar to Euripides', it proposes a linguistic connotation, characterisation of the characters and a completely innovative and unconventional staging. Blood, a concrete representation of the unprecedented violence that characterises the entire drama, is the red thread that links the succession of events. Words turn into weapons and the protagonist's thirst for vengeance drives the action. The finale culminates in a supreme act of violence that sees the roles reversed: the executioners become victims and the victims executioners. This is the only solution to end the circle of brutal suffering.
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Tomaszewski, Jerzy. "Pińsk, Saturday 5 April, 1919." In Polin: Studies in Polish Jewry Volume 1, edited by Antony Polonsky, Antony Polonsky, Antony Polonsky, and Antony Polonsky, 227–51. Liverpool University Press, 2004. http://dx.doi.org/10.3828/liverpool/9781904113171.003.0017.

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This chapter recounts a drama which took place in Pińsk, a small town in Polesie, on the evening of April 5, 1919: 34 Jews were shot dead by the order of the commander of the local Polish military garrison. The event took place when a number of strangers were present in the town, so that the news arrived in Warsaw as early as April 6 and on April 7, a member of the Food Distributing Commission sent a report to the Jewish Parliamentary Club. On April 8, Jewish deputies submitted a question in Parliament, based partly on this report. On April 9, Warsaw newspapers brought out more or less comprehensive accounts, including information contained in the parliamentary question and an announcement of the official Polish Telegraphic Agency (PAT). The executions in Pińsk, which, as further investigations have shown, were a glaring example of lawlessness and abuse of authority committed by the military, had wide international repercussions.
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Spierenburg, Pieter. "The Body And The State: Early Modern Europe." In The Oxford History of the Prison, 44–70. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195118148.003.0002.

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Abstract In 1757 Robert-Frarn;:ois Damiens was sentenced to be publicly quartered in Paris for attempting to take the life of King Louis XV. Because the unusual strength of his muscles and joints prevented the horses from tearing his arms and legs apart, the executioner had to make incisions to carry out the punishment. But the affecting drama of Damiens’s suffering, detailed by Michel Foucault at the opening of his Discipline and Punish, should not mislead us into thinking many offenders were treated as harshly. On the contrary, Damiens’s execution was altogether exceptional. The judges, uncertain what punishment to inflict for so heinous a crime, decided to impose the same sentence that the previous regicide, Frarn;:ois Ravaillac, had received in 1610. French authorities had not quartered anyone in the intervening years, and they would never do so again.
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