Relevant bibliographies by topics / History of drama shows

Academic literature on the topic 'History of drama shows'

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Published: 22 June 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "History of drama shows":

1

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.
2

Lagaay, Alice. "Kristin Gjesdal, The Drama of History: Ibsen, Hegel, Nietzsche." Modern Drama 65, no. 3 (October 1, 2022): 415–54. http://dx.doi.org/10.3138/md-65-3-br02.

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The Drama of History: Ibsen, Hegel, Nietzsche explores the exchange between philosophy and drama in the works of Henrik Ibsen. Kristin Gjesdal shows how his plays go beyond Hegelian and Nietzschean notions of historicity to reflect the emergence of modern subjectivity in the nineteenth century.
3

Syukri, Muhammad, and St Rahmaniah Bahrun. "INTERSECTING AND RECOGNIZING THE VALUE OF CULTURE THROUGH LOCAL HISTORY DRAMA “TOPEKKONG AGREEMENT”." JLE: Journal of Literate of English Education Study Program 2, no. 01 (July 29, 2021): 14–24. http://dx.doi.org/10.47435/jle.v2i01.650.

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Presenting drama as a tool in the learning process, especially English learning has been advanced. For a local history drama technique, one of them is to use drama. In this study, to increase the students' knowledge of their community, a drama using local history is interesting. The drama will build up learners who are proud of their community. In this case, the analysis shows how students intersect and recognize the importance of culture. Via a questionnaire, I collected the data to understand the interest of students by using the local history drama in the learning process. The element that the study finds is how the students intersect and understand the culture's meaning. The outcome indicates that none of the students state a derogatory comment about the use of techniques for local history drama. Sixty-five (86.67 percent) students were highly involved in the students' range of 66-80 percent. The highest score was 79, categorized as highly interested, and the lowest score was 61, categorized as an interesting group, based on the student scores on the questionnaire (see appendix 6 ). It is proposed that learning English through the use of local history drama could present the understanding of their cultural value as a pride in their life to the students.
4

Khawaldeh, Imad M., Baker Bani-Khair, and Nisreen Al-Khawaldeh. "Recalling the Past in Postcolonial Drama: From Counter-History to Sociopolitical Redress." Advances in Language and Literary Studies 8, no. 5 (November 2, 2017): 71. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.71.

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Through examining the texts of Ama Ata Aidoo's play Anowa (1970), Jack Davis's play Kullark (or Home)(1979), and Dennis Scott's play An Echo in the Bone (1974); this paper shows how postcolonial drama functions as an effective means for exploring occluded pre-colonial and colonial periods through constructing alternative histories that both refract the official accounts of the colonialist history and redress or treat contemporary societal and political exclusions. To this end, the researchers argue that the counter-discursive/ counter-historical task of many historical postcolonial dramas is to reconstruct their histories in a way that confirms the essential socio-political function of such plays. In this sense, a conscious linkage is being made between contemporary post-colonial communities and their past pre-colonial and colonial histories.
5

.V, Praveen S. "Shakespeare-The Brand." International Journal of Emerging Research in Management and Technology 6, no. 8 (June 25, 2018): 179. http://dx.doi.org/10.23956/ijermt.v6i8.135.

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William Shakespeare is known to the world as one of the greatest dramatist in the history of English Literature. It is unusual to attribute either Shakespeare or his works in the world of marketing, yet it is the fact that, even after 450 years, Shakespeare is still a recognizable and powerful brand in the world of today. Shakespearean festival was still being celebrated all over the world. Royal Society of Shakespeare still performs Shakespearean dramas every year, in more than twenty languages. It shows the brand image of Shakespeare, having in the world today. Aristotle, a Greek Philosopher, in his attempt to understand poetry and drama, expressed his view in his famous work Poetics that, both drama and poetry appeals to the emotions of a reader and spectators. The success of a drama, depends on the extent to which, a dramatist can able to capture the emotions of the audience. It is necessary for writers to have a unique brand personality to market their art. Every writer has their own set of target audience and follows various strategies to satisfy them. This paper deals with, how Shakespeare employed different strategies to create his own brand image, that helped him positioning his art among his target audience, thus ending up creating one of the greatest and powerful brand image in the History.
6

Xiang, Meng, and Kyung Hoon Han. "A Comparative Analysis Study on Musical Characteristics Shown in the Use of Modes in Korean and Chinese Classical Drama OSTs: Focusing on the Analysis of the Theme Melody of Major Underscores." Korean Society of Culture and Convergence 45, no. 11 (November 30, 2023): 1289–99. http://dx.doi.org/10.33645/cnc.2023.11.45.11.1289.

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The purpose of this paper is to understand the musical features in the use of modes in Korean and Chinese classical drama OSTs, with the intention of providing assistance to music creators who wish to produce OSTs for classical dramas. To achieve this, we explore the overall musical flow of classical drama OSTs, focusing on the analysis of the main insert songs' thematic melodies. In order to grasp the commonalities and differences, we analyze the thematic melodies of key insert songs, covering the period from 2020 to 2023, selecting the top 12 OST songs from dramas that entered the top 3 viewership rankings in Korea and China. As a result, commonalities and differences in the musical characteristics of OSTs from classical dramas in Korea and China were identified. It is hoped that this will contribute to exploring ways to utilize classical drama OST production and serve as valuable information and foundational material for the development of drama music genres.
7

Park, Ji Hoon, Yong Suk Lee, and Hogeun Seo. "The rise and fall of Korean drama export to China: The history of state regulation of Korean dramas in China." International Communication Gazette 81, no. 2 (October 11, 2018): 139–57. http://dx.doi.org/10.1177/1748048518802915.

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In October 2016, approximately 3 months after the Korean government agreed to host the Terminal High Altitude Area Defense, TV stations and online streaming platforms in China stopped airing Korean dramas, movies, TV shows and commercials that featured Korean celebrities. While the post-Terminal High Altitude Area Defense blockade of Korean cultural products received much attention, the restriction should not be taken as an idiosyncratic case of cultural retaliation over the deployment of Terminal High Altitude Area Defense in the Korean peninsula. Chinese government regulation of Korean TV shows should be understood in the larger context of restricting the inflow of capitalist culture, which is viewed as a threat to socialist ideology and national security. We discuss the historical trajectory of the rise and fall of Korean drama export to China (1996–2018) to discuss the continuing role of the state in transnational cultural flows.
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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (November 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.
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Gędas, Katarzyna. "Foreword by Boris Pasternak to Maria Stuart by Frederick Schiller." Tekstualia 2, no. 65 (September 13, 2021): 141–44. http://dx.doi.org/10.5604/01.3001.0015.2786.

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The article is an editorial preparation of Boris Pasternak’s foreword written to the Frederick Schiller’s drama Maria Stuart, which he translated. Circumstances have been described which meant that the text was not fi nally included in the edition. The editorial history of the Polish translation of the foreword by Seweryn Pollak is also presented. In his sketch Pasternak shows the background of Schiller’s work, presents the tragic biography of Maria Stuart and describes the way the characters in the drama are created.
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Warner, Sara, and Mary Jo Watts. "Hide and Go Seek: Child’s Play as Archival Act in Valerie Solanas’s SCUM Manifesto." TDR/The Drama Review 58, no. 4 (December 2014): 80–93. http://dx.doi.org/10.1162/dram_a_00400.

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In contrast to celebratory chronicles that sanitize queer history, Valerie Solanas’s SCUM Manifesto casts bad girls as the central protagonists in the drama of social change. Archiving the adolescent urges and puerile political yearnings of degenerate dykes, it shows revolution to be a dirty girl’s game.
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You might also be interested in the extended bibliographies on the topic 'History of drama shows' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "History of drama shows":

1

Sager, Jenny Emma. ""The strategy with cunning shows" : the aesthetics of spectacle in the plays of Robert Greene." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:af29d412-c285-46e4-953c-43eac3e86f13.

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This is the first full-scale study of Robert Greene’s drama, offering a new interpretation of the dramatic oeuvre of one Shakespeare’s most neglected literary predecessors. Recent criticism has emphasised Greene’s pioneering role as an author of Elizabethan romance. Yet, in contrast to the numerous prose works which were printed during his life time, his drama, which was printed posthumously, has received little attention. Greene’s plays are visually magnificent: madmen wander on stage waving the severed limbs of their victims (Orlando Furioso, c. 1591), the dead are resurrected (James IV, c. 1590), tyrants gruesomely mutilate their subjects (Selimus, c. 1591-4), extravagant stage properties such as the mysterious brazen head prophesy to the audience (Friar Bacon and Friar Bungay, c. 1589), and sinners are swallowed into hell accompanied by fireworks (A Looking Glass for London and England, c. 1588). This thesis will examine the way in which these stage images evoke astonishment, which in turn encourages the audience to contemplate their symbolic significance. The triumph of Greene’s drama is not one of effects over affect; it lies in the interaction between effect and affect. My principal objective in this thesis is to develop a methodological strategy which will allow critics of non-Shakespearean plays, which frequently lack a substantial performance tradition, to study drama through the lens of performance. Engaging purposively with anachronism as an enabling mode of linking old and new, this thesis will draw analogies between the early modern stage and modern cinema in order to emphasise the relevance of early modern drama to today’s ocularcentric world, a relevance that more historical theoretical approaches would seek to deny. My opening chapter will try to establish Greene’s dramatic canon and assess the critical reception of Greene’s plays. Drawing on material from Greene’s entire oeuvre, Chapter Two will outline my methodological and conceptual approach. This chapter will include an extended analysis of Friar Bacon’s discussion of the ‘strategy with cunning shows’ in John of Bordeaux (JB. 735). Launching into detailed studies of specific spectacles, Chapter Three focuses on Thomas Lodge and Robert Greene’s collaborative effort, the biblical drama A Looking Glass for London and England. During the play, Prophet Jonah is ‘cast out of the whale’s belly upon the stage’ (LG. IV.i.1460-1). Focusing on this stage spectacle, this chapter seeks to emphasise the commercial appeal of this biblical drama. Examining another stage property, Chapter Four will explore the melodramatic and sensational potential of the tomb stage property in Greene’s James IV. Examining the apparent tension between the play’s two presenters, I will demonstrate that Bohan, a cynical Scot, and Oberon, the King of the Fairies, proffer two distinct, but not mutually exclusive, ways of conceiving of and interpreting theatrical spectacle. Completing my study of spectacular stage properties, Chapter Five examines the symbolic significance of the brazen head, which appears in two of Greene’s plays: Alphonsus, King of Aragon and Friar Bacon and Friar Bungay. In both plays, the brazen head becomes an object of excessive or supreme devotion as either a religious idol or a secular deity. The brazen head is perceived as monstrous not simply because it is a source of horror or astonishment but because it represents the misplaced veneration or worship of something other than God. Turning away from stage properties, my final two chapters look at how Greene exploited specific stage conventions. Directing my attention towards Greene’s Orlando Furioso (c. 1591), I will argue that the figure of Orlando Furioso bequeathed an enduring legacy to early modern theatrical discourse, contributing to the convention of the mad poet, which would be replicated and parodied by a new generation of dramatists. Orlando’s behaviour, which rapidly alternates between that of a madman and that of a poet, forces the audience to contemplate the link between the mania of the mentally ill and the melancholia of the creative genius. Ridiculing the concept of furor poeticus, Greene’s play interrogates the belief that great writers are divinely inspired by God through ecstatic revelation. My final chapter will explore the aesthetics of violence in Selimus. A relatively recent addition to the Greene canon, Selimus depicts the rise of an anti-hero amidst a cycle of brutal violence. My reading of this play posits Selimus as a surrogate playwright, arguing that the semiotics of dismemberment allows Greene to interrogate the concept of artistic autonomy. Widespread indifference to Greene’s work has facilitated critical blindness to the powerful aesthetic appeal of spectacle in early modern drama. This reassessment of Robert Greene’s dramatic oeuvre offers a new perspective on the aesthetics of spectacle in early modern drama.
2

Tener, John V. "Exhibiting the Victorians: Melodrama and Modernity in Post Civil War American Show Prints." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149259715322474.

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3

Pluquet, Céline. "Le cinéma muet, un art musico-visuel : pratiques, théories et esthétiques de la musique de cinéma à Paris entre 1907 et 1929." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080053.

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Cette thèse entend articuler les enjeux historiques, théoriques, culturels et esthétiques de la musique de cinéma pendant la période muette à travers le cas de l’exploitation parisienne. Elle interroge le rôle de la musique d’accompagnement dans la définition du cinéma propre à cette période.Cette étude rend compte de l’établissement de pratiques, théories et de formes filmiques et musicales que conditionne la musique de cinéma. Une première définition de la musique de cinéma entre 1906 et 1907 définit le spectacle cinématographique en tant que pantomime cinématographique dès lors qu’il apparaît comme représentation artistique, en l’instituant en tant qu’expérience musico-visuelle. La musique de cinéma est alors progressivement marquée par la reconnaissance de l’orchestre comme modèle de pratique d’accompagnement dans les salles parisienne dès le lendemain de la Grande Guerre. Enfin, l’ancrage de la musique de cinéma se confirme dès lors que les théoriciens instaurent une pensée autour de l’accompagnement musical d’un art cinématographique tout le long des années 1920.Cette enquête nous conduit ainsi à repenser le rôle de la séance comme moment fondateur de ce qui définit le cinéma. La musique de cinéma incarne, en somme, une clef de voûte qui rassemble une conception du cinéma à la fois en tant qu’art et spectacle cinématographique
This thesis intends to articulate the historical, theoretical, cultural and aesthetic aspects of film music during the silent era through the case of Parisian theaters. It questions the role of music and how it defined cinema at that specific time. This study shows the establishment of practices, theories, filmic and musical forms conditioned by film music. A first definition of film music between 1906 and 1907 describes the cinematic show as being a cinematic pantomime from the moment it appears as an artistic representation, as both a musical and visual experience. Shortly after the Great War, film music is gradually marked by the recognition of the orchestra as a model of musical accompaniment practice in Parisian theaters. Finally, film music becomes fully embedded when theorists establish the idea of the musical accompaniment of a cinematic art throughout the 1920s.This investigation thus leads us to rethink the role of the cinematic show in the definition of cinema. In short, film music represents the cornerstone which brings together a perception of cinema as being both an art and a performance
4

Curel, Agnès. "Une voix en métamorphose. De l'art du boniment au bonimenteur en scène : enquête sur une mémoire sonore du théâtre." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA142.

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Cette thèse se présente comme une enquête : elle constate tout d’abord l’existence, sur les scènes contemporaines (XXe-XXIe siècles), de personnages de bonimenteurs et d’une référence récurrente à un art du bonimenteur. Que charrie cet imaginaire ? Comment s’est constituée cette figure fictive, qui s’ancre néanmoins dans une histoire concrète ? En quoi les particularités du dispositif oral du boniment ont-elles pu contribuer à la pérenniser ? Notre recherche s’est organisée selon une double enquête historique : sur ce qui a constitué, au XIXe siècle, l’art du boniment, et sur l’entrée du boniment dans la fiction, notamment grâce à une artification partielle datant elle aussi du XIXe siècle. L'examen de la transition entre une fonction théâtrale précisément située dans le temps et une fonction dramatique active sur les scènes et les écrans modernes met au jour les spécificités du bonimenteur, qui, du fait de sa position entre salle et scène et entre son et image, semble créer un geste théâtral particulier.Cette enquête nous conduit ainsi à voir dans le bonimenteur une figure qui interroge le rapport du théâtre à l’oralité et à son histoire. Qui pourrait incarner en somme une autre image du théâtre, reposant sur la force d’un oral performé
This thesis was written as an investigation. It first focuses on the presence on contemporary stages (20th and 21st centuries) of characters commonly known as bonimenteurs and the recurrent reference to the art of boniment. What does this imaginary world convey? How was this fictional figure constructed and how is it rooted in a tangible history? And how have certain specific oral codes used in boniment contributed to its historical durability? Our research was developed around a dual historical investigation. It examines what constituted the art of boniment throughout the 19th century, while also considering the introduction of boniment into fiction, due in part to a partial shift into an art form also observed in the 19th century. The study of the transition between a theatrical function precisely defined in a historical timeline and an active dramatic function on stage and modern screens highlights the specificities of the bonimenteur. Thanks to his or her position between room and stage, sound and image, the bonimenteur seems to create a specific dramatic gesture.This work also leads us to consider the bonimenteur as a figure questioning theatre’s relationship with orality and its history, which may embody another representation of theater based on the power of orality as performance
5

Chopoidalo, Cindy. "The drama of history, examinations in Shakespearean historiography." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59713.pdf.

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Piatt, Wendy Louisa. "Politics and religion in Renaissance closet drama." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287042.

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7

Taylor, Miles Edward. "Nation, history, and theater : representing the English past on the Tudor and Stuart stage /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9986765.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 255-265). Also available for download via the World Wide Web; free to University of Oregon users.
8

Brown, Ian. "History as theatrical metaphor : history, myth and national identities in modern Scottish drama." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/30714/.

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The completion of History as Theatrical Metaphor, now submitted for consideration for the award of the degree of Doctor of Letters, represents an integration and culmination of a number of related strands arising from both my practice as a playwright over the last five decades and my relevant academic research. Susanne Kries has summarised a key approach underlying my writing of history plays as ‘deconstructing the ideological intent behind the very endeavour of writing history and of revealing the ways by which mythologies are formed’. Much of my related academic research shares this interest. A recurring theme of both playwriting and scholarly writing, central to the work submitted, is the significance of the interaction of drama, language – especially Scots and English – and history. The initial phase in exploring such themes was in my developing professional playwriting practice. In 1967, I wrote the first draft of Mary, eventually produced by the Royal Lyceum Theatre Company in 1977. In this first version I sought to address the theme of the life of Mary, Queen of Scots, but in a revisionary way. The play’s first acts, before Mary arrives on stage, involved an unlikely affair between Mary of Guise, Queen Regent in Mary’s absence in France, and her Secretary of State, Maitland of Lethington, conceived as a cross between a Chief Minister and a Mafia consigliere, a relationship in which Mary of Guise achieved some form of Lawrentian ‘authentic’ sexual release and self-fulfilment through her relationship with a powerful Scots leader. This motif was developed when Mary arrived and proceeded to fall under the magnetic spell of the even more Lawrentian Bothwell, a transformation of her sexuality and identity marked by the fact that about half way through her scenes she stopped speaking in French-inflected English and started to speak in Scots. The play’s tendentiousness was further marked by its being written in Scots-language free verse. The decision to write in Scots was consciously, if superficially, ideological. It sought to reflect the vibrant language amongst which I grew up on a council scheme, although in my home the dominant language was Standard Scottish English. I also sought to take a revisionary view of Scottish history, seeking to avoid what I saw as the sentimentalisation of that history in plays by an older generation like that of Robert McLellan. What I was concerned to do was later outlined explicitly by Tom McGrath in a 1984 interview, talking of his own practice: I suppose at that time we were coming up with a different ideology. We were coming up with a different approach after all that work, work that had been done [by writers like MacDiarmid and McLellan] in Scots language. We were coming up with this street level sound of existentialist man in the street, "black man in the ghetto" type of writing. It just upset the applecart. (Later I would develop a contextual interpretation of the shift McGrath refers to, and which I sought to be part of, in arguing that the use of Scots on stage was key to supporting and enhancing the cultural prestige of Scots in the 2011 chapter, ‘Drama as a Means for Uphaudin Leid Communities’. This – in a continuing conscious intention to assert the potential and status of Scots – while academic in content, was written entirely in Scots.) In short, from the beginning of my professional playwriting, a key strand was experiment in and exploration of the relationship of drama, Scots language, community identity and history, particularly the interrogation of accepted versions of ‘history’. The first draft of Mary came by the early 1970s to seem to me to be unsatisfactory in its exploration of the interaction of drama, language and history. By then, it appeared in its sensationalist version of Scottish history to have fallen into a parallel trap to the earlier one of a sentimental and romanticised view of that history. It certainly had moved away from conventional treatments of Scotland’s past, but was rather tending to a simplistic dramatic interpretation pour épater les bourgeois. Indeed, its attempts at sexual directness made it unacceptable at that time, 1968-69, to the management of the Royal Lyceum. While its Literary Manager Alan Brown spoke positively of the play, he still felt the company could not present it. Within very few years my own view came to be that, while it might substitute a certain late-adolescent Scots-language raunchiness for earlier playwrights’ Scots-language sentimentalities, it was itself somewhat naïve and sentimental. Further, the use of Scots in a free verse form, rather than adding anything to the dramatic potential of Scots language, seemed to remove it from the everyday discourse which inspired me to use it in the first place. This change of critical perspective and creative intention arose from two related developments in my dramaturgy. One was the impact of a variety of late 1960s theatrical experiments which impressed me in dealing with historical and political material in a post-Shavian and post-Brechtian way. These included the 1964 film version of Peter Brook's production of Peter Weiss's Marat/Sade, which I saw in 1968, John Spurling's MacRune's Guevara (1969) and Peter Nichols's The National Health (1969) in the programme of the National Theatre in London, New York’s Negro Ensemble Company's version of Peter Weiss's The Song of the Lusitanian Bogey, which is concerned with Portuguese colonial exploitation, presented in the 1969 London World Theatre Season, and John Arden and Margaretta D'Arcy's version of Horatio Nelson’s life and reputation, The Hero Rises Up, presented by Nottingham Playhouse at the 1969 Edinburgh Festival. I was further impressed by the theatrical techniques of the New York-based LaMama troupe, by its version of Paul Foster's Tom Paine (1967) and the popularised and commercialised exploitation of those techniques in Hair (1967). I had also read Foster's Heimskringla! Or The Stoned Angels (1970), written for LaMama and derived from Norse sagas. All employed varying metatheatrical techniques to deconstruct received versions of history and politics which extended my own understanding of what was creatively possible. The second development was that, as those plays affected my understanding of theatrical possibilities in exploring historically based themes, I was researching and beginning to draft my next play on a historical theme. This explored the life, business ethics and politics of Andrew Carnegie. On top of all of this, at this time, having showed Max Stafford-Clark, Artistic Director of the Traverse Theatre, a first draft of Carnegie, begun during the autumn of 1969, I was invited by him to work, in my first professional theatre role, as a writing assistant on the first Traverse Workshop Theatre Company production, Mother Earth (1970), directed by Stafford-Clark when he ceased to be director of the Traverse itself. With his new company, he was developing the deconstructionist and improvisational rehearsal techniques that would later be more widely thought of as the creative method of his Joint Stock Theatre Company, into which the Traverse Workshop Company morphed in 1974. The dramaturgical lessons learned from the examples cited above and by working with such a creative and methodologically innovative director as Stafford-Clark were allied to my own quizzical view of Carnegie’s reputation. This was partly derived from the fact that my great-grandfather was a first cousin of Carnegie’s. There were family stories which, if they did not fully undermine his philanthropic reputation, suggested there were other sides to his career.
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Walsh, Maeve. "Re:vision : the interpretation of history in contemporary Irish drama." Thesis, Goldsmiths College (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286613.

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Millet, Sandra Kay. "Theatre History in the Secondary Drama Classroom and Beyond." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3507.

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Current Utah State Core Standards for Theatre require that theatre history be taught at levels II (Standard 3 Objective C), III (Standard 4 Objective D), and IV (Standard 4 Objectives A and D) of high school drama classes. However, a 2011 survey of Utah high school theatre teachers indicates that only 54% include theatre history as an "important" or "very important" part of their curriculum, while another 36% say they "touch on it." This thesis is designed to be a resource for secondary drama teachers in integrating theatre history pedagogy into their drama classes, in an engaging and performance-based manner that builds on activities that are usually already present in the curriculum. It also suggests methods for crossing the curricular divide and using theatre history projects to enrich students' experiences in other core and elective classes. As continued funding for the arts in our secondary schools is threatened in the current economic climate, it unfortunately becomes increasingly important for theatre programs to demonstrate the ability to collaborate with and enhance other disciplines, as we focus on producing graduates with high-level cognitive skills.
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Books on the topic "History of drama shows":

1

Larsen, L. Dawn. American traveling tent theatre, 1900-1940: Rural and small town tent shows performed in the midwest (including scripts of popular theatricals). Lewiston, New York: Edwin Mellen Press, 2014.

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Sabin, Roger. Cop shows: A critical history of police dramas on television. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2015.

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Hare, Elissa Beatrice. Enchanted shows: Vision and structure in Elizabethan and Shakespearean comedy about magic. New York: Garland Pub., 1988.

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Jośī, Bihāga. Chāyanāṭaka: Saṃskr̥ta nātyasāhityano eka vismr̥ta adhyāya. Amadāvāda: Pārśva Pablikeśana, 2007.

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Wei, Liqun. Zhongguo pi ying yi shu shi. 8th ed. Beijing: Wen wu chu ban she, 2007.

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Nichols-Pethick, Jonathan. TV cops: The contemporary American television police drama. New York: Routledge, 2012.

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Ertuğ, Mehmet. Anılar ve alıntılarla geleneksel Kıbrıs Türk seyirlik oyunları: Karagöz, meddahlık, ortayunu, kukla ve diğerleri--. Lefkoşa [Cyprus]: Mehmet Ertuğ, 2007.

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McMillin, Scott. The musical as drama: A study of the principles and conventions behind musical shows from Kern to Sondheim. Princeton, NJ: Princeton University Press, 2007.

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McMillin, Scott. The musical as drama: A study of the principles and conventions behind musical shows from Kern to Sondheim. Princeton, N.J: Princeton University Press, 2006.

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Sheward, David. It's a hit!: The back stage book of longest-running Broadway shows : 1884 to the present. New York: Back Stage Books, 1994.

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Book chapters on the topic "History of drama shows":

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Saber, Fathieh Hussam. "Shellyseer: A Literary Evolution." In Gulf Studies, 365–80. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7796-1_22.

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AbstractThe dramatic elements that are in Shellyseer have traveled for a long period of time and have been affected by dramatic elements from different cultures, which means that Shellyseer is a result of the evolution of drama. This chapter draws attention to the effect that the East and the West have on each other, by pointing out the effect that Aristotle’s Poetics—Western Theory—had on Ghanem Al-Suliti’s Shellyseer—Eastern Literature. This chapter combines comparative literature with literary theory and criticism in order to give an example of a globalized view of how drama evolves where there are no borders that limit influence. This chapter traces back drama back to its oldest documented sources to show how it evolved throughout history and offers deeper knowledge of Middle Eastern drama, the importance, and strength of political satire, and how strong of a mutual influence Eastern and Western literature have on each other.
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Reiter, Nils, and Marcus Willand. "What are they Talking About? A Systematic Exploration of Theme Identification Methods for Character Speech in Dramatic Texts." In Germanistische Symposien, 473–508. Stuttgart: J.B. Metzler, 2022. http://dx.doi.org/10.1007/978-3-476-05886-7_20.

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ZusammenfassungThis article systematically explores different methods to describe and compare the thematic content of character speech in drama. The problems here are two-fold: The determination of the theme of a text segment is challenging, as it might be subtle or deliberately hidden. Secondly, the evaluation of this determination is difficult, because gold standards do not exist. We approach these problems by comparing the output of different systems to previously stated expectations (postulates) that are partially derived from drama theory and history. Results show that all systems currently have difficulties reaching high performance numbers. Topic modeling and systems based on a general-purpose dictionary (GermaNet) achieve comparable performance.
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Rosenstone, Robert A. "Mainstream drama." In History on Film/Film on History, 28–43. Third edition. | Abingdon, Oxon ; New York : Routledge, 2017. | Series: History: concepts, theories and practice: Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-3.

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Rosenstone, Robert A. "Innovative drama." In History on Film/Film on History, 44–61. Third edition. | Abingdon, Oxon ; New York : Routledge, 2017. | Series: History: concepts, theories and practice: Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-4.

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Rosenstone, Robert A. "Mainstream drama." In History on Film/Film on History, 37–55. 4th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003377467-3.

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Rosenstone, Robert A. "Innovative drama." In History on Film/Film on History, 57–78. 4th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003377467-4.

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Aebischer, Pascale, and Nicolas Tredell. "Theatre History." In Jacobean Drama, 26–39. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-06669-5_3.

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de Schipper-Leeuw, Mineke. "Drama." In Comparative History of Literatures in European Languages, 588–602. Budapest: Akadémiai Kiadó, 1986. http://dx.doi.org/10.1075/chlel.vi.45sch.

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Ormond, Leonée. "History and Drama." In Alfred Tennyson, 175–85. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7_10.

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Cassidy, David C. "Science, History, Drama." In Farm Hall and the German Atomic Project of World War II, 89–94. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59578-8_3.

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Conference papers on the topic "History of drama shows":

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YANG, LING, and SHENG-DONG YUE. "AN ANALYSIS OF THE CHARACTERISTICS OF MUSIC CREATION IN MEFISTOFELE." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35726.

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Successful opera art cannot be separated from literary elements, but also from the support of music. Opera scripts make up plots with words. Compared with emotional resonance directly from the senses, music can plasticize the abstract literary image from the perspective of sensibility. An excellent opera work can effectively promote the development of the drama plot through music design, and deepen the conflict of drama with the "ingenious leverage" of music. This article intends to analyze the music design of the famous opera, Mefistofele, and try to explore the fusion effect of music and drama, and its role in promoting the plot. After its birth at the end of the 16th century and the beginning of the 17th century, western opera art quickly received widespread attention and affection. The reason for its success is mainly due to its fusion of the essence of classical music and drama literature. Because of this, there have always been debates about the importance of music and drama in the long history of opera art development. In the book Opera as Drama, Joseph Kerman, a well-known contemporary musicologist, firmly believes that "opera is first and foremost a drama to show conflicts, emotions and thoughts among people through actions and events. In this process, music assumes the most important performance responsibilities."[1] Objectively speaking, these two elements with very different external forms and internal structures play an indispensable role in opera art. A classic opera is inseparable from the organic integration of music and drama, otherwise it will be difficult to meet the aesthetic experience expected by the audience. On the stage, it is necessary to present wonderful audio-visual enjoyment, and at the same time to pursue thematic expressions with deep thoughts, but the expression of emotions in music creation must be reflected through its independent specific language rather than separated from its own consciousness. Only through the superb expression of music can conflicts, thoughts and emotions be fully reflected, or it may be reduced to empty preaching. Joseph Kerman once pointed out that "the true meaning of opera is to carry drama with music". He believes that opera expresses thoughts and emotions through many factors such as scenes, actions, characters, plots and so on. However, the carrier of these elements lies in music. Only under the guidance and support of music can the characters, thoughts and emotions of the drama be truly portrayed. Indeed, opera scripts fictional plots with words, and music presents abstract literary image specifically and recreationally, allowing more potentially complex emotions that are difficult to express in words to be perceived by the audience in the flow of notes, thereby resonate with people.[2] Mefistofele, which this article intends to explore, is such an opera that is extremely exemplary in the organic integration of music and drama.
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Bondareva, O. Ye. "“DRAMA PANORAMA 2023” IS A NEW FORMAT OF UKRAINIAN DRAMATIC ANTHOLOGIES." In MODERN PHILOLOGY: THEORY, HISTORY, METHODOLOGY. PART 2. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-425-2-27.

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CHIMITDORZHIEVA, L. S. "ABOUT THE HISTORY OF THE RUSSIAN DRAMA THEATRE FOUNDATION IN BURYATIA." In Scientific conference, devoted to the 95th anniversary of the Republic of Buryatia. Publishing House of the Buryat Scientific Center of the Siberian Branch of the Russian Academy of Science, 2018. http://dx.doi.org/10.30792/978-5-7925-0521-6-2018-219-221.

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Wu, Saijuan, Pengfei Fu, and Wei Wang. "HISTORY AND LEGACY: A RESEARCH OF THE HEILONGJIANG AIGUN DRAMA “MAHY”." In Россия и Китай: история и перспективы сотрудничества. Благовещенский государственный педагогический университет, 2020. http://dx.doi.org/10.48344/bspu.2020.90.58.106.

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Курочкина, Анжелика Валерьевна. "THE MODERN «WOMAN’S DRAMA» IN THE CONTEXT OF «THE NEW DRAMA»: THE ETERNAL TOPIC OF THE WOMAN’S FATE." In Социально-экономические и гуманитарные науки: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Декабрь 2020). Crossref, 2021. http://dx.doi.org/10.37539/seh294.2020.75.84.008.

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Статья посвящена современному исследованию такого явления в отечественной драматургии, как «новая драма», в частности, литературоведческому анализу драмы О.Михайловой «История одного преступления». The article is devoted to the modern investigation of such a phenomenon in the Russian drama as “the New Drama”, particularly, to the literary analysis of O. Mikhailova’s drama “The History of One Crime”.
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Krupina, L. L. "The principle of opposition in the musical drama of I.S. Bach (on the example of his clavier fugues)." In Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-05-2020-11.

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Konieva, T. M. "WESTERN EUROPEAN AND UKRAINIAN “NEW DRAMA” AT THE TURN OF THE 19TH–20TH CENTURIES: CONNECTIONS AND TYPOLOGICAL CONVERGENCES." In MODERN PHILOLOGY: THEORY, HISTORY, METHODOLOGY. PART 1. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-425-2-21.

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Yuhan, N. L. "PROJECTION OF PSYCHOANALYTIC CONCEPTS AND PSYCHODRAMA IN CONTEMPORARY GERMAN DRAMA: N.-M. STOCKMANN’S PLAY “THE SHIP WILL NOT COME” IN THE INTERTEXTUAL CONTEXT." In MODERN PHILOLOGY: THEORY, HISTORY, METHODOLOGY. PART 1. Baltija Publishing, 2024. http://dx.doi.org/10.30525/978-9934-26-425-2-11.

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Saulini, Mirella. "Twenty-Five Years of Research on Jesuit Drama: an Italian Contribution to the History of Theatre." In Új eredmények a színház- és drámatörténeti kutatásban (17-19. század). Eszterházy Károly Katolikus Egyetem Líceum Kiadó, 2022. http://dx.doi.org/10.17048/ujeredmenyekaszinhaz.2022.145.

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Milovanović, Ana. "Mogućnosti i izazovi nastave dramske umetnosti u izmenjenom društvenom kontekstu." In Nauka, nastava, učenje u izmenjenom društvenom kontekstu. University of Kragujevac, Faculty of Education in Uzice, 2021. http://dx.doi.org/10.46793/nnu21.189m.

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The subject of the paper are the possibilities and challenges of teaching drama in a changed social context. In the social context changed by the application of the agenda of globalism in Serbian education, the teaching of drama for preschool teachers begins to lose quality at university. Due to the specific nature of drama as art, online teaching of this subject is not possible. Research of teaching the subject Drama and Movement at the Teacher Education Faculty in Belgrade was shown that teaching was limited to lectures and theoretical exercises during the state of emergency, and that practical exercises were necessary after its abolition. An insurmountable challenge was the protection measures against the corona virus, as a result of which it was impossible to hold exercises of puppet animation and puppet directing, ie to prepare puppet shows (except monodramas). High engagement of professor was necessary for the quality of teaching.

Reports on the topic "History of drama shows":

1

Kellett, D., S. Pehrsson, D. Skipton, D. Regis, A. Camacho, D. Schneider, and R. Berman. Thermochronological history of the northern Canadian Shield: a synthesis. Natural Resources Canada/CMSS/Information Management, 2024. http://dx.doi.org/10.4095/332507.

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This contribution examines the current state of knowledge regarding the postmetamorphic cooling of most Archean to Paleoproterozoic tectonic elements of the northern Canadian Shield. This was achieved by building an extensive data set of over 2000 combined K-Ar and 40Ar/39Ar cooling ages. The Churchill Province (amalgamated Rae and Hearne cratons) shows a general west to east cooling pattern illustrated by two large-scale thermochronological profiles.
2

Crouch, Luis, and Deborah Spindelman. Purpose-Driven Education System Transformations: History Lessons from Korea and Japan. Research on Improving Systems of Education (RISE), March 2023. http://dx.doi.org/10.35489/bsg-rise-wp_2023/139.

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This paper is an essay in comparative educational history and its possible relevance to educational development today. It addresses the question of whether Japan and Korea’s history in using educational development to further national development can be useful as (partial) models for dealing with the educational challenges of today’s lower- and lower-middle income countries. The hypothesis of the paper is that there is much to learn from these countries, but that the lessons one could learn are not at all obvious or superficial, and are only partially about what was done (specific education policies) and are more importantly about how it was done (the high purpose and thoroughness of policy engagement). The paper first characterizes educational development, especially in terms of the intense emphasis on equality of high achievement in Korea and Japan, in quantitative terms, to demonstrate that these countries possess certain admirable characteristics. Caveats regarding learner stress and rote learning are dealt with by looking at the relevant statistics. A framework for assessing the quality of policy borrowing processes is built, based on the literature on this subject. The paper then analyzes the historical development of education as a means of resisting Western colonialist probes into Japan and Korea (end of the 19th C), but also Japan itself into Korea (first half of 20th C). How both countries borrowed from the West, but in a contested and very deep manner, and as part of a resistance to being colonized, is documented. The paper also shows that part of the healthy, contested borrowing was the involvement of teacher groups and civil society. The paper concludes by taking into consideration the fraught issue that potentiating the role of education in national development could be seen as tantamount to using education for nationalism. The paper links to the possibility that there may be a more inclusive and rights-oriented use of the concept of the nation to foster human well-being, and that education could play a role in such processes. Some practical suggestions for taking these ideas forward, or at least exploring them in more depth, are made at the very end.
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Westwick, Peter. Lessons from Stealth for Emerging Technologies. Center for Security and Emerging Technology, March 2021. http://dx.doi.org/10.51593/20200071.

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Stealth technology was one of the most decisive developments in military aviation in the last 50 years. With U.S. technological leadership now under challenge, especially from China, this issue brief derives several lessons from the history of Stealth to guide current policymakers. The example of Stealth shows how the United States produced one critical technology in the past and how it might produce others today.
4

Miller, Sebastián J. Why Do Populist-Outsiders Get Elected?: A Model of Strategic Populists. Inter-American Development Bank, May 2011. http://dx.doi.org/10.18235/0011203.

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The existence of populist regimes led by outsiders is not new in history. In this paper a simple framework is presented that shows how and why a populist outsider can be elected to office, and under what conditions he is more likely to be elected. The results show that countries with a higher income and wealth concentration are more likely to elect populist outsiders than countries where income and wealth are more equally distributed. It is also shown that elections with a runoff are less likely to bring these populist outsiders into office.
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Levy Yeyati, Eduardo, and Martín González Rozada. Global Factors and Emerging Market Spreads. Inter-American Development Bank, May 2006. http://dx.doi.org/10.18235/0010852.

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This paper shows that a large fraction of the variability of emerging market bond spreads is explained by the evolution of global factors such as risk appetite (as reflected in the spread of high yield corporate bonds in developed markets), global liquidity (measured by the international interest rates) and contagion (from systemic events like the Russian default). This link has remained relatively stable over the history of the emerging market class, is robust to the inclusion of country-specific factors, and helps provide accurate long-run predictions. Overall, the results highlight the critical role played by exogenous factors in the evolution of the borrowing cost faced by emerging economies.
6

Wenner, Mark D. Lessons Learned in Rural Finance: The Experience of the Inter-American Development Bank. Inter-American Development Bank, October 2002. http://dx.doi.org/10.18235/0008854.

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This paper reviews the Bank's lending experience in rural finance and extracts the lessons learned from that experience. It is based on a review of project documents, evaluation reports, and interviews. A sample of 27 projects were studied in detail. Although the review of IDB projects is far from exhaustive, it nevertheless serves to identify some important lessons for the design of future interventions. This paper will help policymakers, practitioners, academics, and consultants to better understand the history and types of interventions that the IDB has made in the past. The hope is that new operations will benefit from the lessons of the past and build on existing strengths. As we move into an era of increased market integration and globalization, the importance of well-functioning financial markets cannot be overemphasized. This paper shows how rural financing in Latin America and the Caribbean might be improved in the coming years.
7

Audsley, Neil, Gonzalo Avila, Claudio Ioratti, Valerie Caron, Chiara Ferracini, Tibor Bukovinszki, Marc Kenis, et al. Two-lined Chestnut Borer, Agrilus bilineatus (Weber). Euphresco, 2023. http://dx.doi.org/10.1079/20240228443.

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The 2-lined chestnut borer (Agrilus bilineatus) is a pest native to eastern North America, affecting oak (Quercus spp.) and chestnut (Castanea spp.). The larvae feed under the bark, leading to tree death within one to four years. While primarily a secondary pest attacking stressed trees, it can affect healthy trees during outbreaks. Recently established in Turkey, it poses a significant threat to European oak and chestnut species. There is no history of classical biological control against A. bilineatus. The parasitoid Phasgonophora sulcata, native to North America, shows potential as a biological control agent but is not species-specific. Other natural enemies, including various parasitoids and predators, have been identified, but their effectiveness and associations with A. bilineatus require further research. The potential for significant impact in Europe and the EPPO region underscores the need for monitoring and possible control measures if the pest spreads.
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Saleem, Raja M. Ali, Ihsan Yilmaz, and Priya Chacko. Civilizationist Populism in South Asia: Turning India Saffron. European Center for Populism Studies (ECPS), February 2022. http://dx.doi.org/10.55271/pp0009.

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The 21st century has witnessed a significant shift in how the concept of nationalism is understood. A political marriage between identity politics and populism has resulted in “civilizationism,” a new form of nationalism that entails an emotionally charged division of society into “the people” versus “the Other.” All too often, the divisive discourses and policies associated with civilizationalist populism produce intercommunal conflict and violence. This paper draws on a salient case study, India’s Hindutva movement, to analyze how mainstream populist political parties and grassroots organizations can leverage civilizationist populism in campaigns to mobilize political constituencies. In surveying the various groups within the Hindutva movement and conducting a discourse analysis of their leaders’ statements, the paper shows the central role of sacralized nostalgia, history, and culture in Hindutva populist civilizationism. By analyzing the contours and socio-political implications of civilizationist populism through this case study, the paper contributes to the theoretical understanding of the concept more generally.
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Narvaez, Liliana, Sally Janzen, Caitlyn Eberle, and Zita Sebesvari. Technical Report: Taiwan drought. United Nations University - Institute for Environment and Human Security (UNU-EHS), August 2022. http://dx.doi.org/10.53324/ujzw5639.

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During the 2020-2021 typhoon season, for the first time in 56 years, no typhoon made landfall on Taiwan, leading to one of the worst droughts in the island’s history. As reservoirs fell below 5% capacity, more than one million households and businesses had to ration water. This water rationing was not without controversy, especially for the island’s most water-intensive industries: rice farming and semiconductor manufacturing. Taiwan’s case exemplifies the challenges of water stress and related risk across value chains that could emerge as a result. It also shows stark choices that governments and authorities may have to face in rationing water resources. Water management in a changing climate is incredibly important to ensure the life, health and prosperity of people and ecosystems on our planet.This technical background report for the 2021/2022 edition of the Interconnected Disaster Risks report analyses the root causes, drivers, impacts and potential solutions for the Taiwan drought through a forensic analysis of academic literature, media articles and expert interviews.
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Bolivar, Ángela, Juan Roberto Paredes, María Clara Ramos, Emma Näslund-Hadley, and Gustavo Wilches-Chaux. You Are What You Eat. Inter-American Development Bank, April 2016. http://dx.doi.org/10.18235/0006316.

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"You are what you eat." It's a familiar expression, but do youhave any idea how true it is? Food does a lot more than simply nourish our bodies; it's an essential part of who we are. When we gather together to produce, prepare, and consume food, we are part of a community. The passing down of food traditions from generation to generation helps form our very identity. One of the best ways to learn about the history of different places and cultures is to eat the local food. How people eat shows us how they've adapted to the geographical and climatic conditions in their region. The same food may have different names, uses, and methods of preparation in different places, depending on local traditions and needs as well as local geography and agricultural practices. Over the centuries, these differences have given rise to a wide range of traditional regional dishes, recipes, and cooking styles, some of which remain favorites.

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