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Journal articles on the topic 'Historical drama'
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Jinyi Zhao and Lim Chsing Chsing. "Heroism in Historical Drama: Examine How Historical Drama Portrays Heroism Through Real-Life Historical Characters and Events." Journal of Advanced Zoology 44, S-5 (November 15, 2023): 2333–46. http://dx.doi.org/10.17762/jaz.v44is-5.1846.
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Historical dramas have long served as a vital medium to convey stories of heroism, often bringing to life the valor and virtues of historical figures and events. This study delves into the multifaceted portrayals of heroism within the realm of historical drama. By critically analyzing various dramas, the research sheds light on how these works both mirror societal perceptions of heroism and mold them. The nuanced interplay between dramatic representation and historical fidelity is explored, revealing the balance creators strike between artistic interpretation and factual authenticity. The paper underscores the influence such portrayals have on audience perceptions, cultural values, and societal norms, emphasizing the enduring impact of historical drama on collective memory and identity.
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Hornby, Richard. "Historical Drama." Hudson Review 45, no. 2 (1992): 293. http://dx.doi.org/10.2307/3852255.
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y, Hou Jue, and Jeongmin Ko. "A Study on the Q Methodology on the Factors of Korean Viewers’ Preference for Watching Chinese Drama: Focusing on Costume Drama." Academic Association of Global Cultural Contents 57 (November 30, 2023): 267–90. http://dx.doi.org/10.32611/jgcc.2023.11.57.267.
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With the continued development of the media, the spread of multicultural dramas has become a common concern of the drama industry, and the export of dramas has become an important way to improve the culture of countries around the world. Currently, Chinese costume drama is actively consumed through OTT platforms, such as remakes in Korea. In order to maintain this desire of Korean viewers, the subjective viewing preference factors of Korean viewers were analyzed using the Q methodology and based on this, implications for the entry of Chinese costume drama into Korea were presented.
As a result of the study, it was confirmed that the factors that Korean viewers prefer to watch Chinese costume dramas were divided into types that prefer traditional historical dramas and types that prefer fusion historical dramas. Cultural curiosity is the preferred factor in the pursuit of traditional culture that likes traditional historical dramas based on cultural similarities. Based on cultural similarities, fusion historical dramas can be divided into visual effect-seeking types that prefer colorful production environments and fandom-seeking types that prefer to like actors, and content excellence is the preferred factor. It can be seen that this is an individual's subjective taste in which various factors of preference for Chinese costume drama appear depending on the viewing tendency.
This study is meaningful in presenting the factors of Korean viewers' preference for viewing differently depending on the preference for viewing traditional historical dramas and fusion historical dramas in the production environment of Chinese costume drama.
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Simó, Joan Oleza. "Variations of «Drama Historial» (Historical Drama) in Lope de Vega." Anuario Lope de Vega Texto literatura cultura 19 (October 31, 2013): 150. http://dx.doi.org/10.5565/rev/anuariolopedevega.71.
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Cassler, Robert. "Creating Historical Drama." History Teacher 23, no. 3 (May 1990): 255. http://dx.doi.org/10.2307/494859.
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Slipushko, O. M., and A. O. Katyuzhynska. "THE INTEGRATION OF PANEUROPEAN THEATRIC TRADITIONS OF THE BAROQUE EPOCH INTO THE HISTORICAL DRAMA OF THE LUMINARIES." Literary Studies, no. 60 (2021): 199–210. http://dx.doi.org/10.17721/2520-6346.60.199-210.
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The article represents the study of the peculiarities of the integration of PanEuropean theatrical traditions of the Baroque epoch into the historical drama by Ukrainian coryphees. Particular attention is paid to the study of the specifics of the creation of baroque drama of the XVIII century and its influence on the formation of the dramatic tradition of the Coryphées. The main European tendencies represented in historical baroque dramas are singled out. It is proved, that succession is manifested primarily at the level of national identity. The historical dramas of F. Prokopovych “Volodymyr”, the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky”, I. Karpenko-Kary “Sava Chaly” in the comparative aspect are analyzed. Common and different features in the interpretive models of the central images of statesmen are clarified. Actually, F. Prokopovich has developed his own theory of drama with a division into five acts. It was found out, that such a structure is also characteristic of the works of I. Karpenko-Kary “Sava Chaly” and M. Starytsky “Bogdan Khmelnytsky”, which testifies to the preservation of the baroque dramatic tradition. At the same time, the Coryphées have significantly deepened the compositional structure of the drama, adding new elements. The works of the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky” have the genre of historical drama, the central image of hetman B. Khmelnytsky. However, in the historical drama of M. Starytsky “Bohdan Khmelnytsky” the interpretative model of the image of the statesman is significantly expanded, in particular, the psychological aspect of the figure of the hetman is deepened. At the same time, the idea of messianism, especially the interpretation of the National Liberation War as the highest level of self-sacrifice, is common in the interpretation of the image of B. Khmelnytsky by the anonymous author and M. Starytsky. Pan-European traditions of Ukrainian baroque drama of the XVIII century has become one of the sources for the formation of the original professional Theater of luminaries, in particular historical dramas.
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Dalton, Racquel Fred. "Highlighting the Female Perspective in British Historical Drama: An Analysis of the Portrayal of Women Characters, Specifically Guinevere and Morgan Le Fay, in the Arthurian Legend." Studies in Social Science & Humanities 2, no. 12 (December 2023): 38–46. http://dx.doi.org/10.56397/sssh.2023.12.06.
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This comprehensive analysis thoroughly explores the nuanced portrayal of female characters in British historical drama, focusing on the iconic figures of Guinevere and Morgan Le Fay within the Arthurian Legend. Tracing the evolution of these characters across medieval literature and contemporary historical dramas, the study examines the historical context, thematic intricacies, and reception dynamics that have shaped and reshaped their roles. Through a comparative lens, the paper contrasts the portrayals of Guinevere and Morgan Le Fay, unraveling shared commonalities, divergent paths, and their contributions to the narrative richness of Arthurian historical dramas. The exploration navigates the socio-cultural transformations reflected in these portrayals, emphasizing the significance of highlighting the female perspective in the enduring tapestry of British historical drama.
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김지영 and 서보민. "Historical Drama 'Hwajeong' and Historical Imagination." Women and History ll, no. 29 (December 2018): 91–130. http://dx.doi.org/10.22511/women..29.201812.91.
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Liu, Yijun. "Spread Of Artistic Spirit Of Chinese Historical Drama Songs." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 3652–63. http://dx.doi.org/10.18001/trs.7.5.1.142.
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As an important symbol of an excellent TV series, Chinese historical dramas’ songs have become the spiritual symbols left to the broad audience. They have the theme and spiritual value of spreading the story, connecting the link between the past and the following, showing the infinite empathy and yearning of women, symbolizing the identity and symbolic the identity and symbolic meaning of the characters, borrowing historical allusions and drama adaptation, preserving the artistic spirit of and beautiful style. These songs play an essential role in spreading the story plot, characters, cultural connotation, and regional customs of the historical drama and play a critical value-added role in enhancing the historical drama’s artistic charm and spiritual value. This is also the music aesthetics that presents the blending of form and spirit and the sublimation of artistic conception in historical dramas’ songs.
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B, Vijayakumar. "A Comparative Analysis of Tamil and Assamese Dramatic Tradition." International Research Journal of Tamil 4, no. 2 (February 1, 2022): 1–8. http://dx.doi.org/10.34256/irjt2221.
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The article is to trace the heritage of Tamil and Assamese drama earliest times to present. The sub-genre of different periods is also discussed herewith. Earliest record of Tamil drama is available during Sangam period. In Assamese it is mentioned in the Sankaradev period. Sankardeva the father of Assamese literature and society maker had a great contribution to Assamese drama. ‘Chihno Jatra’ was the first drama of Assamese literature. To speed up his ‘Ek Saran’ religion he wrote many dramas as an instrument of it and his followers also followed him. In the end of the nineteenth century Tamil and Assamese drama underwent a change after its contact with western literature. Hence the Tamil drama can be divided into four periods. (1) Tolkappiyam to 16th century, (2) drama in the 17th,18th century, (3) 19th century, and (4) 20th century. Assamese drama can be classified as (1) Vaisavate period, (2) Ahom period, (3) modern period. Many authors wrote ancient, historical and modern dramas in both languages. All those dramas are taken as the very great wealth of Tamil and Assamese literature.
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MOKLYTSIA, M. ""HISTORICISM" OF THE NEW EUROPEAN DRAMA (LESYA UKRAINKA – B. BRECHT – Y. KOSACH)." Brecht-Magazine: Articles, Essays, Translations, no. 9 (December 26, 2023): 83–93. http://dx.doi.org/10.35433/brecht.9.2023.83-93.
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The article deals with the development of the historical theme in drama, the stage of the new drama traced on the examples of Lesya Ukrainka’s plays "Boyarynya", 1910, B. Brecht’s "Mother Courage and her children", 1939, Y. Kosach’s "Action about Yuriy the Victorious", 1947. The first collection of these different texts under one slogan ensures the scientific novelty of research. The purpose of the research: to trace the development of the historical theme in the modernist drama of the 20th venture and outline the problematic aspects of the concept of historicism of the new drama.
The analysis of three dramas allows us to make a conclusion about the historicism of different aesthetics systems, romantic, realistic and modernist. A romantic story is, in fact, the metanarrative of national history, which is written with the aim of producing a national one identity, elevation of national culture. Realism focuses on displaying modernity, indifferent to historical topics, but gives authors of historical topics a lot of image means necessary for the effect of authenticity. Modernism in the displaying of historical events is miscellaneous. It is important to highlight the symbolist, expressionist and surrealist methods of mediating historical material. Most of Lesya Ukrainka’s dramas are historical or mythological subjects belonging to the genre of symbolist drama, in which the price of the choice is realized between private and public, which every person makes in any era. B. Brecht’s Epic / expressionist theater is a unique story that goes on and on. The playwright forces the viewer to look at the story consciously and critically, not emotionally, to see it through the eyes of a playwright who has already gone through his path of self-awareness. Surreal the picture of history is painted by Yuriy Kosach: his historical event is also distanced, but looks like a labyrinth in which a person wanders and blindly chooses between good and evil. It is always a story appropriated by the author.
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Kim, Gi-Bong. "How to view the Historical Drama: The Historical Drama as a ‘Dreaming History’." Humanities Contens 43 (December 31, 2016): 9. http://dx.doi.org/10.18658/humancon.2016.12.43.9.
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Kanaker, Osama, Iyad L. Y. Abusalah, Emran (Mohamad Ali) Abdalah Al Qudah, Zulkiple Abd Ghani, and Bushra Abuhaq. "The Role of Watching Historical Drama on the Values of Affiliation and Justice: A Study on the Revival of Ertuğrul." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 3 (September 30, 2022): 228–43. http://dx.doi.org/10.17576/jkmjc-2022-3803-14.
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Drama is a form of art that attracts myriad viewers throughout the world. It has four main types: comedy, tragedy, tragicomedy and melodrama. Drama originally is based on different types of contemporary or historical stories. Historical drama is a form of drama that envisions and visualises historical events to send desired messages to audiences. Drama in general and historical drama, in particular, is not merely entertainment-oriented. Rather, drama is value-laden. Currently, Turkish drama is popular in the Middle East. The historical drama of The Revival of Ertuğrul is not only popular in the Middle East, but it reached other Muslim countries such as Pakistan and Malaysia. The Resurrection of Ertuğrul accentuates values among viewers. The objective of this study is to discover the impact of watching historical drama on the values of affiliation and justice among Palestinian university students, and to test the moderating effect of watching rate. This paper is a quantitative study that implements a questionnaire as the instrument for data collection. The study discovered that watching historical drama has a significant impact on the value of affiliation (ß =0.697, t = 21.399, P<.05) and also on justice (ß =0.635, t = 17.775, P<0.05). However, watching rate has no moderating effect on affiliation (ß=0.026, t=0.792, p>0.05) nor on justice (ß=0.040, t=0.912, p>0.05). Keywords: Historical drama, values, affiliation, justice, Revival of Ertuğrul.
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Kadhim, Thamer Mohammad, and Safaa Kareem Ali. "Themes of Chronicle Drama." International Journal of Early Childhood Special Education 13, no. 2 (December 2, 2021): 53–57. http://dx.doi.org/10.9756/int-jecse/v13i2.211039.
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Chronicle drama occupies a central position in modern literature which represents a field for interaction of ideas and actions, as it works as storage for historical and human experience. It records a sequence for the history. This study aims to examine the main themes of chronicle drama. Thus, it tracks the history of modern literature as a wide source for this literary genre. The study adopts a historical and analytical methodology in order to clarify the broader dimensions related to chronicle drama and its sources. Historically, chronicle drama was used to dramatize the facts and work as an expression of factory life of kings. That’s why King John of Shakespeare in 1553 was the first one of this genre. The study concludes that chronicle drama mirrored surrounding circumstances of the facts since its early times. So, it was effected by the historical conditions. This is clearly appeared in the early works like Henry the Fifths, Tragedy of Richard III The life and Death of Jaike Strew and so, the previously mentioned "The King John". So it was affected politically and socially by the European historical context. The research also indicates that the Elizabethan Dramatists put the basics of the later stage of literature development especially on the level of techniques. This appears in Shakespeare’s works who used to end the drama with restoration and disordering which still exists in postmodern literature.
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Menhennet, Alan. "GRILLPARZER, SHAKESPEARE, AND HISTORICAL DRAMA." German Life and Letters 44, no. 3 (April 1991): 208–20. http://dx.doi.org/10.1111/j.1468-0483.1991.tb00331.x.
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Begoray, Deborah L., and Arthur Stinner. "Representing Science Through Historical Drama." Science & Education 14, no. 3-5 (July 2005): 457–71. http://dx.doi.org/10.1007/s11191-005-0780-y.
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Nelson, Greg, and Margaret Gail Osachoff. "Spirit Wrestler: An Historical Drama." Canadian Theatre Review 97 (December 1998): 94–95. http://dx.doi.org/10.3138/ctr.97.019.
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Greg Nelson’s Spirit Wrestler was first performed by 25th Street Theatre in November 1995 as a slightly late commemoration of the centenary of the Burning of Arms by Doukhobors in southern Russia on 29 June 1895. The revival of this play by the Rosthern Station Arts Centre, from 11 July to 2 August 1998, came a little early to mark the hundredth anniversary of the arrival in Canada of the first shipload of 2000 Doukhobors in Halifax, on 24 January 1899, and their subsequent journey to western Canada. Opening night of the Rosthern production served to launch Coteau Books’ publication of Nelson’s script.
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Zhang, Yu, and Nicholas Lovrich. "Portrait of justice: The spirit of Chinese law as depicted in historical and contemporary drama." Global Media and China 1, no. 4 (November 1, 2016): 372–89. http://dx.doi.org/10.1177/2059436416678220.
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Some scholars doubt whether China has much of a legal tradition, and others have opined that China lacks legal subjectivity from a Western legal perspective. However, various dramas have delineated a legal culture and form of legal subjectivity in China present since ancient times. Unfortunately, relatively less research has been conducted on legal themes in Chinese drama, and even less scholarship has explored Chinese legal tradition through an art perspective. This article takes a modest step toward filling this gap. Selecting multiple cases from the creative industries in China, including ancient stage drama, films, and contemporary television drama across the span of hundreds of years, this article looks into the representations of legal tradition in Chinese performing arts and explores the spirit of law in Chinese society.
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Kelin, Daniel. "To Feel the Fear of It: Engaging Young People in Social Education." Talking Points 14, no. 1 (October 1, 2002): 10–14. http://dx.doi.org/10.58680/tp20022593.
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Daniel Kelin, Director of Drama Education at the Honolulu Theater for Youth, shares his use of drama to forge a deeper understanding of historical events and the limits of many historically recorded outcomes.
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Moros, Larysa. "Panteleimon Kulish’s Dramaturgy: Historical and Spiritual-Philosophical Features." Слово і Час, no. 10 (October 16, 2019): 44–51. http://dx.doi.org/10.33608/0236-1477.2019.10.44-51.
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The paper explores the ground of the ideas, plots, and schemes of conflicts in ideological dramas by P. Kulish. The two of them are conditionally symbolic while the other three are based on real historical material. The libretto of the musical performance “A Woman from the Farmstead, or Singing Praise to the Bride in front of the Wedding Guests” and multifaceted drama “Herod’s Trouble” show combination of biblical, i. e. international, elements, while the latter also contains traditional folklore features of the Ukrainian Nativity Play. The other group of works makes up the trilogy, although P. Kulish interprets the selected topics in different ways and every time uses special literary techniques. The tragedy “Baida, Prince Vyshnevetskyi” depicts the conflict between the real historical figure, who was the founder of the regular Cossack army and folklore character, and representative of the Cossack poor, therefore between the knightly and lumpen forces. The heroes of the drama “Petro Sahaidachnyi” are prominent figures of the Ukrainian authorities, church, and culture of the 17th century, so the main conflict is determined by the concern for the development of cultural life; it unfolds in intellectual and philosophical sphere. The characters reflect on the problems of confrontation, combination of faith and science, possibility of spiritual or political struggle, etc. The ‘Old Ruthenian’ drama “Tsar Nalyvai” (the action takes place in the hot 1596) is the most dynamic; it has the most elaborate intrigue, but here the focus is rather on the deep symbolic language than on revealing the emotional or intellectual world of the characters. There are also some common features in all the dramas by Kulish. The author interpreted historical events estimated as the most important in a way of ideological conflict, combining historical phenomena and figures with symbolic (biblical and folklore) images and details.
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Greig, Hannah. "‘The New Downton Abbey’? Poldark and the Presentation and Perception of an Eighteenth-century Past." Journal of British Cinema and Television 16, no. 1 (January 2019): 94–113. http://dx.doi.org/10.3366/jbctv.2019.0458.
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As soon as it was commissioned, Poldark, like a number of other recent historical dramas, was labelled as the ‘new Downton Abbey’ and the comparison has persisted. Given Downton Abbey's hit status such comparisons are surely welcomed by production companies. For historians, however, such associations highlight an important phenomenon: the grouping of diverse period dramas as broadly similar, all perceived as being ‘like’ Downton. In what ways, though, are such dramas part of the same genre? And what implications do such associations have for how we should approach and analyse period dramas as a form of public history? This article uses a case study of Poldark as a starting point for addressing these questions, exploring the history foregrounded in the Poldark narratives and examining what happens to audience perceptions of that history as the story moves from novel to screen. It argues that although Winston Graham created a deeply researched, revisionist historical world in his fiction, his historical innovation is rarely acknowledged when his stories are consumed. While this goes some way to explaining why it is that a drama set in the eighteenth century can be regarded as being ‘like’ Downton Abbey, this apparent lack of engagement with a drama's specific historical content raises important, if difficult, questions for historians keen to analyse historical drama as a form of public history.
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Jabborova, Dilafruz. "Interpretation of Fitrat Dramas in Literary Criticism." International Journal for Research in Applied Science and Engineering Technology 9, no. 12 (December 31, 2021): 2437–40. http://dx.doi.org/10.22214/ijraset.2021.39332.
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Abstract: This article examines the fact that after the independence of Uzbekistan, the works of modern literature began to be reevaluated on the basis of new approaches. Literary scholar Ilhom Ganiev's monograph "Poetics of Fitrat dramas" is analyzed and the poetic world of the playwright is covered. The article is based on the analysis of the physicist's focus on Fitrat's character creation skills, the symbolic and figurative motives used in dramas, and the use of artistic language. Keywords and word expressions: drama, jadid literature, criticism, natural science, jadid studies, jadid writers, playwright, drama, symbolism, theater, tragedy, soviet ideology, “Abulfayzkhan”, confection, “Hindu ihtilotonzhon”, conflict, independence ideas, poetic thought, hermeneutic thinking, vulgar-sociological approach, principle, reassessment, new scientific and aesthetic thinking, systematic approach, analysis and interpretation, hermeneutics, synergetics, structuralism, historical-biographical approach, historical-cultural approach, modernism, absurdity, existentialism.
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Gordon, Joel. "Viewing Backwards: Egyptian Historical Television Dramas in the 1990s." Review of Middle East Studies 52, no. 1 (April 2018): 74–92. http://dx.doi.org/10.1017/rms.2018.5.
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AbstractThe 1990s marked an important moment in Egyptian television, when the country turned its attention increasingly (although never monolithically) toward historical drama as a means of recreating and reinterpreting modern Egyptian history. Mahfouz Abd al-Rahman and Osama Anwar Okasha, in particular, scripted long multi-year series aired during Ramadan, the peak season for television viewing, that covered decades of the late ninteenth century and pre-Nasserist history, in many ways re-writing public history, and making historical drama—and history—fashionable. I focus here on the former and his first mega-hitBawabat al-Halawani (Halawani Gate). Biographical dramas, initially of artists, but later politicians, kings, and religious leaders would follow. As the Egyptian industry atrophied in the following decade these dramatists passed the mantle on to the Syrians, later the Turks, who broke the Egyptian monopoly and brought their own stories to the fore. But a rebirth may be in view.
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Zotova, Tatiana A. "TRAGEDY IN L. TIECK’S DRAMA. SOME ASPECTS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 32–41. http://dx.doi.org/10.28995/2686-7249-2021-3-32-41.
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The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama
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Dvoryankina, I. S. "Historical process and historical time in Tom Stoppard’s drama." Science and School, no. 1, 2020 (2020): 39–49. http://dx.doi.org/10.31862/1819-463x-2020-1-39-49.
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The article analyzes Tom Stoppard’s historical concept through philological, philosophical and cultural discourse. The article highlights the transformation of the playwright’s views on the historical process: from following the concept of postmodernism to consideration of historical process as included in the Great Chain of Being and objectification of historical events in accordance to Hegel’s determinism. The article covers the influence of Wilson’s and Berlin’s school of history of the ideas on the formation of Stoppard’s history concept. The article highlights the main issues addressed by Stoppard: individual freedom and protection of the human rights; it is noted that the moral and civic pathos of the plays is a distinctive feature of Stoppard’s drama.
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Waters, Chris, and Ola Rotimi. "Akassa You Mi: An Historical Drama." World Literature Today 76, no. 3/4 (2002): 84. http://dx.doi.org/10.2307/40157612.
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KIM, BYOUNG-GILL. "Lee Kwang-soo and Historical drama." Chunwon Research journal 25 (December 31, 2022): 109–32. http://dx.doi.org/10.31809/crj.2022.12.25.109.
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Kosti, Katerina, and Theodora Papaioannou. "Drama-in-education for critical historical thinkers: A case study in the Greek context." Scenario: A Journal for Performative Teaching, Learning, Research XIV, no. 2 (December 31, 2020): 26–41. http://dx.doi.org/10.33178/scenario.14.2.2.
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The case study presented in this article refers to the connection of drama-in-education and critical thinking in history, in order to highlight the importance of drama for the teaching of history in primary schools in Greece. The research plan adopted is quantitative and qualitative, and the research strategy applied is that of case study. For the purposes of this study, four scenarios based on drama-in-education techniques were designed and applied on a sample of forty-three primary students. The analysis of the findings show that the students’ understanding of historical contexts and objectives of historically active subjects was encouraged by drama-based instruction.
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LEE, Hyeon-Jeong. "DEVELOPMENT OF THE KOREAN POETIC DRAMA AND THE SIGNIFICANCE OF THE POETIC DRAMA MOVEMENT." International Journal of Korean Humanities and Social Sciences 7 (December 27, 2021): 117–41. http://dx.doi.org/10.14746/kr.2021.07.06.
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This paper deals with the definition and characteristics of poetic drama, and attempts to clarify the significance of poetic drama works during the time when the poetic drama movement took place. Unlike drama-poetry or plays, poetic drama is an independent art genre. It presents artistic vision through the conflict of poetics and dramas. The unity of poetic and dramatic things, which is facilitated through music, internal necessity, stage image, sound effect, and visual auditory indication, poetic drama is a part of complex art. The entire work functions as a poem and must be realized on the stage. For Choi Il-soo, in order to develop the characteristics of these poetry plays, the innatrhythm of the free verse should be embodied within these plays. He accepted Eliot’s theory and tried to establish the position that Western poetic drama works and theories are unique to Korea. This deepening perception of theory led to a poetic drama movement with the creators. In this paper, we classify its characteristics by focusing on approximately 18 poetic drama works. From 1920 to 1999, 18 representative works were classified, focusing on the completeness of the works and the remarkable artists. The characteristics of works can largely be divided into historical, narrative, reality, and philosophy. The meaning of this classification can serve as an opportunity for poetic dramas to advance into more diverse topics or forms. The poetic drama movement was dominated by critics and poets with the aim of pursuing independent Korean art works, and although it failed in performance and popularization, it was an achievement of the times to give a glimpse into the possibility of poetic drama. Poetic drama can act as a new element in the genre of poetry and drama that are losing original literary character, and there is a need to revive in Korean literature.
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Zayniddinovna, Tasheva Nafisa. "CHARACTERIZATION OF THE IMAGE OF AMIR TEMUR IN CHRISTOPHER MARLOWE'S DRAMA "TAMERLANE THE GREAT"." International Journal Of Literature And Languages 03, no. 02 (February 1, 2023): 36–43. http://dx.doi.org/10.37547/ijll/volume03issue02-08.
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The article is dedicated to the problem of the determination of historical validity degree of Amir Temur’s image in Christopher Marlowe’s drama "Tamburlaine the Great". Basing on variety of sources, the author comes to conclusion that when writing the drama "Tamburlaine the Great" Marlowe did not address to the historical sources deserving confidences and in the result the drama as a whole does not correspond to historical truth in sufficient degree.
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Vasić Rakočević, Branislava V. "„LIPTONOV ČAJ“ RADOMIRA KONSTANTINOVIĆA I IZAZOV RADIO-DRAME." Nasledje Kragujevac XIX, no. 52 (2022): 299–309. http://dx.doi.org/10.46793/naskg2252.299vr.
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This paper begins with an overview of the history of radio drama as well as its charac- teristics. Radio dramas of Radomir Konstantinović represent a very specific part of his work mostly due to the historical position of this genre. The central part of the paper is the analysis of his radio drama called The Lipton Tea. There are some characteristic poetic elements in it which are connected to his novels. The crucial problems are problems of identity in a modern world and a dream of happiness and friendship. Since his radio dramas are fully published in 2019 for the first time, this paper traces the path for further research in this area.
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Pejčić, Aleksandar. "The dramas of Manojlo Đorđević Prizrenac on the Serbian stage." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 2 (2024): 113–32. http://dx.doi.org/10.5937/zrffp54-50364.
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The paper interprets and evaluates the dramas performed by Manojlo Đorđević Prizrenac: Slobodarka, Zlatna grivna, and Jasmina and Irena. The first part of the paper focuses on the key poetic, dramaturgical, and genre features of these dramas, demonstrating that Prizrenac was a good playwright who mastered this demanding form very early on. The dominant meaning layers of each drama were interpreted separately (action, plot, space, and conception of characters) from a structural, semiological, and cultural point of view. The final part of the paper examines the reception of criticism as well as the place of Prizrenac's drama opus in the history of Serbian theater from a literary-historical and theatrical perspective. His dramas were performed with nice scenic success in the National Theaters in Belgrade and Novi Sad, as well as Nikšić and Niš.
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Adway, Abdallah. "The Impact of Television Drama in Understanding History." Journal of Al-Tamaddun 18, no. 1 (June 19, 2023): 67–78. http://dx.doi.org/10.22452/jat.vol18no1.6.
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Drama is an important source for knowing history in our time, as many historical series and films are produced. This study aims to explore the impact of dramatic treatment on historical texts in achieving understanding and memorizing scientific information presented to an audience. This study examines the manner in which elements of dramatic treatment such as dramatic structure, characters, accuracy of information, content, and location affect the effectiveness of historical TV drama, and further demonstrates the capacity of dramatic treatment in achieving this understanding. This study used a quantitative method by collecting quantifiable data, and used the questionnaire as a data collection tool. The population sampled consisted of West Bank Palestinians, who watched one of the most successful historical TV drama series, entitled Omar. Subsequently, data were subjected to statistical analysis by SPSS. This study concludes that the difficulties in understanding and memorizing scientific information are mitigated by learning information presented in the form of drama, which can enhance the audience’s comprehension and retention of information. Additional factors such as location and content contribute to the quality of understanding of historical drama presented through television, wherein if a drama producer seeks to effectively deliver historical information he or she must secure interest in content, which affects understanding by up to 34%, followed by location and décor, which affects it by up to 23%.
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Su, Jinze. "Research on Analysis and Optimization Strategies of Empresses in the Palace." Highlights in Business, Economics and Management 28 (April 9, 2024): 89–97. http://dx.doi.org/10.54097/7jpd3162.
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This research delves into the intricacies of marketing strategies employed for the Chinese historical drama series “Empresses in the Palace." This study reveals vital insights through a comprehensive analysis of the existing marketing approaches and the unique challenges the historical drama genre poses. The “Empresses in the Palace” marketing strategies demonstrated innovation and creativity against intense competition within the historical drama landscape. Bridging the historical-contemporary gap and sustaining viewer engagement emerged as prominent challenges. This research has proposed various strategies tailored to address these challenges effectively. These strategies encompass diversified trailers, interactive engagement initiatives, and the integration of augmented reality experiences, aiming to optimize marketing endeavors. They seek to captivate contemporary audiences and maintain their interest throughout the series. The significance of the findings extends beyond this singular case, offering valuable lessons for historical drama marketing and its broader implications for the entertainment industry. This research recognizes the need for ongoing adaptation and innovation in engaging audiences with captivating historical narratives.
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Zhang, Jinsong. "Discussion on Raymond Williams’ Methodology of Drama Criticism." Journal of Contemporary Educational Research 5, no. 10 (October 29, 2021): 153–57. http://dx.doi.org/10.26689/jcer.v5i10.2635.
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Raymond Williams is one of the representative figures of British cultural Marxism and British cultural research. His cultural research, especially mass culture research, focuses on literary criticism. Among them, drama criticism is one of Williams’ most important forms of cultural criticism methodology. Williams’ drama criticism is based on drama history criticism. Through the historical analysis of drama content and form as well as the synchronic analysis of modern drama in different historical periods, including the ongoing drama history, Williams proposed the notion of “structures of feeling.” The emergence of this concept opened up the social critical dimension of Williams’ drama criticism. Drama criticism has become a window for examining, analyzing, and grasping the current social emotional structure or social culture. Furthermore, by implanting tragic plots in the drama, a potential practical strategy of social and cultural revolution can be realized.
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Adway, Abdallah. "The elements of dramatic treatment and the effectiveness of historical TV drama." Journal of Arab & Muslim Media Research 16, no. 1 (April 1, 2023): 97–112. http://dx.doi.org/10.1386/jammr_00058_1.
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This study sought to detect the relationship between the elements of dramatic treatment (i.e. characters, information accuracy, content, location and dramatic structure) and the effectiveness of historical drama in order to learn how dramatic treatment actualizes attraction, understanding and interaction. This study used a quantitative method by collecting quantifiable data, and also used the questionnaire as a data collection tool. The population sampled consisted of West Bank Palestinians, who watched one of the most successful historical TV drama series which was entitled . Subsequently, data were subjected to statistical analysis by SPSS. The researcher used correlation coefficient analysis that examines the relationships between variables in terms of strength and direction. The study found that there were statistically significant positive correlations between dramatic treatment elements and historical drama effectiveness factors, which ranged from medium to strong. There was a strong positive correlation between understanding drama and drama content. There was also a strong positive relationship between attraction and dramatic structure, accuracy and content. Additionally, there was a strong positive correlation between interacting with characters, informational accuracy and content. This study contributes to helping individuals in the field of drama production understand the effective elements of drama. This means that if the producer of historical drama wants to achieve an understanding of the subject, they should have an interest in the content. Furthermore, if they want to attract an audience to the drama, they should ensure interest in the dramatic structure, informational accuracy and the contents. Finally, if they want to achieve audience interaction, they should ensure interest in the characters, informational accuracy and content.
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Haddad, Fadi G., and Alexander Dhoest. "Cosmopolitanism in Dubai’s Pan-Arab Drama." Middle East Journal of Culture and Communication 13, no. 2 (October 22, 2020): 190–209. http://dx.doi.org/10.1163/18739865-01302002.
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Abstract Pan-Arab dramas (Ar. al-drama al-ʿarabiyya al-mushtaraka) are a recent trend in Arabic drama series (Ar. musalsalat); they portray an ensemble of characters of various Arab nationalities in a transnational narrative setting. By considering transnational television a factor that contributes to the cosmopolitan imagination, and given the argument that Gulf cities are replacing historical Arab capitals and becoming ‘new centers’ for Arab culture, education and business, we explore the manner in which cosmopolitanism is represented in transnational Arab drama content. We do this through a case study of ‘04’ (Zero Four), a pan-Arab drama series that tells the story of four young expatriates of four Arab nationalities, experiencing their personal, professional and private lives in modern-day Dubai. We find that the boundaries of the cosmopolitan imagined community encompass the Arab world, resulting in a cosmopolitan imaginary that seems to favor Arabs over non-Arabs.
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., I. Nyoman Narawidia, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and Gede Saindra Santyadiputra, S. T. ,. M. Cs . "Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 20, 2017): 103. http://dx.doi.org/10.23887/karmapati.v6i1.9393.
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Tujuan dari penelitian ini adalah untuk: (1) menghasilkan rancangan dan mengimplementasikan hasil rancangan Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan; (2) mengetahui respon masyarakat terhadap Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan. Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian dan pengembangan dengan menggunakan metode cyclic strategy. Film dokumenter sejarah drama tari Gambuh Desa Batuan menganut jenis film dokumenter sejarah, namun dalam beberapa bagian akan dimunculkan unsur rekonstruksi berbantuan animasi 2D, di mana film ini nantinya akan menceritakan bagaimana awal mula drama tari Gambuh muncul hingga berkembang sampai sekarang di Desa Batuan. Dalam film ini tipe film dokumenter yang diusung yaitu tipe interactive, di mana nantinya akan ada beberapa tokoh yang menyampaikan langsung fakta dilapangan lewat wawancara yang ditampilkan dalam film ini. Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, studi literatur, angket, dan dokumentasi. Penelitian ini diimplementasikan menggunakan Adobe Premiere Pro CS 6 sebagai aplikasi pengedit video dan Adobe After Effect CS 6 sebagai aplikasi penambahan efek serta animasi pada video. Hasil penelitian dan pengembangan menunjukkan bahwa Film Dokumenter Sejarah Drama Tari Gambuh Desa Batuan dalam kriteria baik. Hasil yang diperoleh berdasarkan analisis uji ahli isi, uji ahli media, dan uji respon penonton. Untuk isi dari film dokumenter Sejarah Drama Tari Gambuh Desa Batuan sudah sesuai dengan realitas. Respon penonton terhadap film dokumenter Sejarah Drama Tari Gambuh Desa Batuan dapat dikategorikan baik dengan persentase 89.51%.Kata Kunci : Cyclic Strategy, Film Dokumenter, Drama Tari Gambuh. The aims of this research are; (1) to produce and to implement the result design of documentry film the historical of drama Gambuh dance of Batuan village, (2) to know about responses from audiens about documentry film the historical of drama Gambuh dance of Batuan village. This research use cyclic strategy method. Documentry film the historical of drama Gambuh dance of Batuan village genre is historical’s film, but on some scene there’s will be showed a recontruction use on 2D animation, where’s this film will let’s us know how drama Gambuh dance raise and grow up untill now at Desa Batuan. Film type of this documentry is interactive, where’s there will be some people who will bring the facts that’s exist with live interview that’s shown up on this film. The technique that use for collecting data are observation, interview, study literature, questionnaire and documentation. The implementation of this research is uses Adobe Primer Pro CS 6 as the application in editing the video and Adobe After CS 6 as the application that use to adding the effect and animation into the video. This research show that documentry film the historical of drama Gambuh dance of Batuan village has an good criteria. The result of this research are based on the analyzes; test of the content, test of the media and test of the audiens response. The content from documentry film the historical of drama Gambuh dance of Batuan village is based on reality. The category of this film is good with percentages 89.51% that stated by audiens. keyword : Cyclic Strategy, Documentary Film, drama Gambuh dance.
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Syukri, Muhammad, Prima Mytra, and Fatimah Hidayahni Amin. "BUILDING COMMUNITY THROUGH LOCAL DRAMA ACTIVITIES IN THE CLASSROOM." Lentera Pendidikan : Jurnal Ilmu Tarbiyah dan Keguruan 25, no. 2 (December 30, 2022): 358–74. http://dx.doi.org/10.24252/lp.2022v25n2i15.
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Using a local history approach as an embedded medium can increase student engagement and achieve the goals of the learning process. The purpose of this study was to find out how to build student community through local historical drama in drama class activities. This study uses mixed methods, with observation and questionnaires as data collection instruments. Using a purposive sampling technique, 75 students were selected as a sample from a population of 3,225. Data were analyzed by Quant-Qual and interpreted by descriptive accounting. The results showed that there were no students who commented badly about the use of techniques in local historical dramas. Researchers recommend using this approach in the learning process, especially in learning English and how to build student’s community.
Abstrak:
Menggunakan pendekatan sejarah lokal sebagai media yang melekat dapat meningkatkan keterlibatan siswa dan mencapai tujuan dari proses pembelajaran. Tujuan penelitian ini adalah untuk mengetahui bagaimana membangun komunitas siswa melalui drama sejarah lokal dalam kegiatan drama kelas. Penelitian ini menggunakan metode campuran, dengan observasi dan kuesioner sebagai instrumen pengumpulan data. Dengan menggunakan teknik purposive sampling, dipilih 75 siswa sebagai sampel dari populasi sejumlah 3.225. Data dianalisis dengan Quant-Qual dan diinterpretasikan dengan akuntansi deskriptif. Hasil penelitian menunjukkan bahwa tidak ada satupun siswa yang berkomentar buruk tentang penggunaan teknik dalam drama sejarah lokal. Peneliti merekomendasikan penggunaan pendekatan ini dalam proses pembelajaran, khususnya dalam pembelajaran bahasa Inggris dan bagaimana membangun komunitas siswa.
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Kosachova, O. O. "Modern Historical Film: Genre and Dramaturgic Features." Culture of Ukraine, no. 71 (April 2, 2021): 41–48. http://dx.doi.org/10.31516/2410-5325.071.05.
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The aim of the article is to explore of genre and dramaturgic features of a modern historical film.
The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out.
The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director’s and cameraman’s methods and techniques and the style, which forms the aesthetic expressiveness of the film.
Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society.
We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multigenre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.).
The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the “plot of growing up” and “plot of the experience”, when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero — is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others.
The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of “democracy for the elect” is not so popular among modern fans of historical cinema.
Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience.
The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad.
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Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no. 1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.
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The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.
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Azeez, Ahmed Saadoon, and N. Solomon Benny. "Exploring the Themes of Conflict and Peace in Contemporary English and Iraqi Drama." International Journal of Literature Studies 4, no. 1 (February 5, 2024): 43–51. http://dx.doi.org/10.32996/ijts.2024.4.1.6.
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This research paper explores the themes of conflict and peace in contemporary English and Iraqi drama. The paper analyzes several plays from both traditions to examine the portrayal of conflict and peace, as well as the cultural, political, and historical contexts that inform these portrayals. The paper argues that contemporary drama serves as a powerful means of artistic expression that reflects and responds to the complexities of the world around us. In English drama, conflict and peace are often portrayed as elusive and difficult to achieve. The plays examined in this paper depict a range of conflicts, including those arising from personal relationships, social injustice, and political upheaval. The paper analyzes the causes and effects of conflict in these plays, as well as the ways in which conflict is resolved or perpetuated. The examination of the challenges and benefits of achieving peace highlights the difficulties in achieving resolution and the toll that conflict takes on individuals and communities. In Iraqi drama, the potential for hope and reconciliation is emphasized, even in the most challenging circumstances. The paper examines the causes and effects of conflict in these plays, as well as the ways in which peace is achieved or lost. The examination of the cultural, political, and historical contexts that inform the portrayal of conflict and peace in Iraqi drama emphasizes the significance of Iraq's recent history of war and occupation and the ongoing struggle for social justice and human rights. The paper also identifies similarities and differences between the treatment of conflict and peace in the two traditions. While both English and Iraqi dramas address the complexities of conflict and the difficulties of achieving peace, they do so in different ways. The examination of the cultural, political, and historical contexts that inform the portrayal of conflict and peace in the two traditions highlights the diversity and richness of contemporary drama as a form of artistic expression.
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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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Arcila, Jorge. "Integrating memory, historical remembrance and drama in Colombian schooling: Pedagogical and psychosocial implications." Psychologia 6, no. 1 (January 10, 2012): 13–20. http://dx.doi.org/10.21500/19002386.1167.
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This is a research study that explores the kind of pedagogical and psychosocial possibilities that collective remembrance, mediated by practices of drama in education, might offer to the work of memory. Under study is a drama-remembrance project that explores individual and historical memory in conjunction with critical remembrance through the classroom drama praxis. Assuming the school as a terrain within which a community of memory is possible, this research is concerned with educational experiences that facilitate the understanding of the ‘work of memory’. I am also situating drama praxis as an alternative performative form of remembrance. The hypothesis is that through drama framed as a performative practice of remembering, students can productively explore the work of memory; its functioning, implications and structures. I call this approach “Drama-Remembrance Praxis”, as it constitutes a particular application of theatre to the memory and remembrance framework.
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Nguyen Van, Lich. "Unique artistic and poetic art of Huy Thong in period 1932-1945 on the aspect of language topic." Journal of Science Social Science 66, no. 2 (May 2021): 37–43. http://dx.doi.org/10.18173/2354-1067.2021-0023.
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The article points out that Huy Thong’s drama is biased towards historical topics. This is also a popular topic in Vietnamese literature in the early twentieth century due to the special nature of the nation’s fate. And, also in the trendy nature of the era, Huy Thong’s historical drama is often associated with the theme of love- a love bound to history, an example of former personal tragedy and responsibility. In his efforts, he has made a separate contribution to the drama genre in terms of structure and language. Huy thong’s poems are like hymns of endless love and natural lines. About expressing mood rather than historical express in Huy Thong’s drama is minimalistic, just enough toexpress the writer’s mood.
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Knowles, Ronald, and Graham Holderness. "Shakespeare Recycled: The Making of Historical Drama." Modern Language Review 89, no. 3 (July 1994): 725. http://dx.doi.org/10.2307/3735145.
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박상완. "A Study on the Television Historical Drama." Journal of Korean drama and theatre ll, no. 37 (September 2012): 129–65. http://dx.doi.org/10.17938/tjkdat.2012..37.129.
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Geunae Yang. "Perspective and Prospect of Korean Historical Drama." Journal of Korean drama and theatre ll, no. 57 (September 2017): 163–73. http://dx.doi.org/10.17938/tjkdat.2017..57.163.
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Yan, Haiping, and Rudolf G. Wagner. "The Contemporary Chinese Historical Drama: Four Studies." Theatre Journal 44, no. 4 (December 1992): 550. http://dx.doi.org/10.2307/3208791.
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Tyson, Peter K. "Ernst Toller'sDie Maschinenstürmer: an Expressionist Historical Drama." Orbis Litterarum 46, no. 3 (November 1991): 294–304. http://dx.doi.org/10.1111/j.1600-0730.1991.tb01921.x.
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