Log in

Relevant bibliographies by topics / Italian drama / Journal articles

Journal articles on the topic 'Italian drama'

To see the other types of publications on this topic, follow the link: Italian drama.

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Italian drama.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Ardeleanu, Sanda-Maria, and Cristina Ioniță. "The Reading Horizont of Adam Smith from the Perspective of His Italian Library." European Journal of Language and Literature 4, no. 4 (November 29, 2018): 60. http://dx.doi.org/10.26417/ejls.v4i4.p60-66.

Full text

Abstract:

The paper proposes understanding the reading interest in Italian of the thinker Adam Smith (1723-1790), author of the Theory of Moral Sentiments and of the Wealth of Nations from the perspective of the partial review of his library’s catalogue, with approximately 1,000 titles published in English, French, Italian, Greek and Latin. The list of books published in Italian, which Adam Smith purchased for his library and we assume he also read, since he quoted some, represent the Appendix of the present work. From his Italian library, 60 volumes were identified, published between 1547 (B. Castiglione, Il Cortegiano) and 1784 (32 volumes from Parnaso Italiano ovvero Raccolto de’ Poeti Classici Italiani). Just a few years before his death, the great admiror of Italian literature, assiduous reader of Italian poetry, drama, memoirs, correspondence, biographies, jurisprudence, economics, art and history (especially that of Venice and Florence) was still purchasing and reading books from the Italian states, a fact which sketches a personality with a profound cultural and humanities features.

APA, Harvard, Vancouver, ISO, and other styles

2

Johnson-Haddad, Miranda, Louise George Clubb, and Murray J. Levith. "Italian Drama in Shakespeare's Time." Shakespeare Quarterly 43, no. 2 (1992): 253. http://dx.doi.org/10.2307/2870897.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Rodini, Robert J., and Louise George Clubb. "Italian Drama in Shakespeare's Time." Italica 68, no. 3 (1991): 361. http://dx.doi.org/10.2307/479646.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Starowicz, Aleksandra. ""Z ziemi włoskiej do Polski". Staropolskie przekłady dramaturgii włoskiej." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 17 (October 12, 2018): 235–40. http://dx.doi.org/10.24917/20811853.17.20.

Full text

Abstract:

From Italy to Poland. Old Polish translations of Italian dramaAbstractThe text discusses the most important problems raised in Jadwiga Miszalska’s book The Songof the Tragic Playthings Teaches us Virtue: Translations from Italian as a Source for PolishSerious Drama till the end of the 18th Century (Kraków, 2013). The author drew attention tothe place that the translation from Italian takes in the Polish culture and literature and notedthe fact, that choice of texts for translation, the way of reading, the changes to which thetranslators of the Italian dramaturgy decided have become a source of knowledge about thehistory of literature, literary trends and reading (and scenic) expectations of the time.Keywords: literary translation, Italian drama, Polish translations

APA, Harvard, Vancouver, ISO, and other styles

5

Zucca, Lorenzo. "The Barroso Drama: All Roads Lead to Rome." European Constitutional Law Review 1, no. 2 (May 19, 2005): 175–81. http://dx.doi.org/10.1017/s1574019605001756.

Full text

Abstract:

Italian governmental crisis at the origin of Rocco Buttiglione's nomination. Hearing before Civil Liberties committee and unprecedented rejection of Buttiglione. October events trigger changes in Italian governmental team. The EU: a Catholic conspiracy?

APA, Harvard, Vancouver, ISO, and other styles

6

Parolin, Gianluca. "Quests for justice across the Mediterranean: Sorelle and *Zayy ish-Shams." Journal of Italian Cinema & Media Studies 12, no. 1 (January 1, 2024): 41–56. http://dx.doi.org/10.1386/jicms_00238_1.

Full text

Abstract:

Through the Egyptian remake of an Italian television series, the article explores the shared – and often overlooked – imaginaries of crime and its investigation that make such work possible across the Mediterranean and, in turn, cast light on broader imaginaries of law, and of the complex relations between citizens and law enforcement. In the Italian television drama Sorelle (Sisters) (2017), the sudden disappearance of her sister prompts the lead character to set off on a journey to solve this mystery. She is fortunate enough to have a close friend working in the police force, but in her struggle to conduct the investigations she is quite alone, and the Egyptian remake *Zayy ish-Shams (‘Like the sun’) (2019) echoes this sentiment. After considering how the two productions were presented within the dominant formats and genre characterizations, this article proceeds to situate them within the Italian and Egyptian formulas of crime drama and concludes that the Egyptian remake enables a new appreciation of an often-marginalized strain of Italian crime drama.

APA, Harvard, Vancouver, ISO, and other styles

7

Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 189–216. http://dx.doi.org/10.1163/22129758-bja10037.

Full text

Abstract:

Abstract At the beginning of the Twentieth Century the Italian philologist Ettore Romagnoli popularised ancient classical culture through his work as translator and director of performances of Greek and Roman dramas. In his plays he attempted to reproduce the unity of the arts that belonged to the mousikē technē and to achieve a modern recreation of ancient sounds and rhythms. The paper aims to analyse the translation of Euripides’ Bacchae by Romagnoli (1912), comparing it with his studies on Greek music and tragedy and with operas. On the one hand, Romagnoli’s translation in Italian verses is based on the musicological theories about the close relationship between music and metrics in ancient Greek poetry; on the other, the adoption of operatic language to translate specific lines of Euripides’ drama is probably oriented to the Italian audience, which would have recognised conventional expressions from the libretti or from famous arias.

APA, Harvard, Vancouver, ISO, and other styles

8

Golubtsova, Anastasia V. "Alexander Pushkin in the 19th Century Italian Drama." Studia Litterarum 2, no. 3 (2017): 138–49. http://dx.doi.org/10.22455/2500-4247-2017-2-3-138-149.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Mascio, Antonella. "TV drama and fashion: 1992, An Italian case." Film, Fashion & Consumption 5, no. 1 (August 1, 2016): 55–69. http://dx.doi.org/10.1386/ffc.5.1.55_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Giovannelli, Maddalena. "Subverting hierarchies in Italian productions of ancient drama." Collectanea Philologica 15 (January 1, 2012): 93–101. http://dx.doi.org/10.18778/1733-0319.15.08.

Full text

Abstract:

A través de tres ejemplos voy a mostrar cómo la abolición de las jerarquías es una característica común a varias producciones italianas recientes de obras del teatro clásico. Es un fenómeno general, que, alterando clasificaciones y axiologías, se nota con particular evidencia en las adaptaciones de tragedias. "Fedra risita a tranci" (2011), dirigido por Andrea Cosentino, actor y director, constituye un ejemplo de abolición de la jerarquía de los personajes. El protagonista ya no es el pivote de lo que pasa en la escena, pues su papel pasa a las manos de varios personajes, todos al mismo nivel, cuya identidad es proporcionada a través de una estructura fragmentaria. Al mismo tiempo, el acto trágico en sí pierde su predominancia: en el teatro moderno hay varios eventos dramáticos, que se suceden a lo largo del espectáculo. Es el caso de La Madre (2010, peculiar adaptación de Medea a cargo de Mimmo Borrelli, joven actor y dramaturgo. Con Edipo, tragedia dei sensi (1996), de Massimo Munari, un espectáculo dirigido a una sola persona que comparte las experiencias del protagonista a través de los cinco sentidos, me concentraré en la abolición de roles distintos para actores y espectadores: estos dos papeles se han ido mezclando y los espectadores han sido progresivamente implicados en la acción escénica. Finalmente, con la adaptación de Las Troyanas de Eurípides por la joven compañía Muta Imago (2011) daré un ejemplo de espectáculo basado casi exclusivamente en sugestiones verbales, que rompe la axiología según la cual la palabra prevalece sobre los gestos.

APA, Harvard, Vancouver, ISO, and other styles

11

Kanev, A. I. "HANDEL's OPERAS: LITERARY SOURCES, STRUCTURE, LIBRETTO LANGUAGE." Bulletin of Udmurt University. Series History and Philology 29, no. 3 (June 25, 2019): 517–23. http://dx.doi.org/10.35634/2412-9534-2019-29-3-517-523.

Full text

Abstract:

This article studies thirteen Italian libretti of music dramas that were staged with Handel's music in the first half of the XVIII century. The libretti texts were written by a range of authors such as N. F. Haym, A. Salvi, P. Rolli, A. Zeno, V. Grimani, A. Hill, G. Rossi, N. Minato, A. Piovene. The majority of stories are based on famous Italian and French literary pieces. The article looks at literary and linguistic aspects of libretti. The literary components are the problem of primary sources, plot features and their transformations, drama structure and texts form. The linguistic components are rare verb forms, syntactical and lexical features of libretti. Attention is paid to the sound organisation of the texts - euphonia. Examples are drawn of the usage of alliteration and assonance.

APA, Harvard, Vancouver, ISO, and other styles

12

Springate, Michael, Caterina Edwards, Maryse Pelletier, and Jonathan Rittenhouse. "Dog and Crow, Homeground, Duo for Obstinate Voices." Canadian Theatre Review 69 (December 1991): 94–95. http://dx.doi.org/10.3138/ctr.69.017.

Full text

Abstract:

Guernica Editions of Montreal has recently published three plays in their new Drama Series. All three are handsomely and carefully printed and all are literate scripts. As befits Guernica’s interest in and concern with Italian culture, all plays also reproduce, in varying levels of significance, aspects of Italian culture.

APA, Harvard, Vancouver, ISO, and other styles

13

De Martino, Alessandra. "DIDATTICA TEATRALE E APPRENDIMENTO DELL'ITALIANO COME LINGUA STRANIERA." Revista Internacional de Culturas y Literaturas 19, no. 19 (2016): 237–48. http://dx.doi.org/10.12795/ricl.2016.i19.20.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Troiani, Sara. "Ettore Romagnoli, rievocatore of ancient Greek drama." Classical Receptions Journal 16, no. 1 (January 1, 2024): 56–72. http://dx.doi.org/10.1093/crj/clad029.

Full text

Abstract:

Abstract The Italian classicist Ettore Romagnoli (1871–938) is mostly remembered as a popularizer of ancient drama through his work as a translator for and artistic director of classical performances at the Greek theatre of Syracuse (1914–27). His theatrical productions were inspired by a programmatic aesthetic approach to the study of classical culture called ‘artistic Hellenism’, which aimed at making the Graeco-Roman classics accessible to a broader audience, as well as renewing Italian prose theatre by referring to the example of the ancient chorodidaskalos. This article aims to describe Romagnoli’s attempt to promote his aesthetics in the staging of Greek drama within the cultural framework of Fascism. Even after his dismissal from the artistic direction of the National Institute of Ancient Drama, which he helped to establish in 1925, Romagnoli strove to find the financial support for his project of a ‘Fascist Institute of Classical Drama’. This Institute never became a reality and was probably intended to compete with the classical productions staged at Syracuse, which in the thirties were undergoing a shift in terms of aesthetics and production management according to the new Fascist politics about theatre matters.

APA, Harvard, Vancouver, ISO, and other styles

15

Piazzoli, Erika, and Claire Kennedy. "Drama: Threat or Opportunity? Managing the ‘Dual Affect’ in Process Drama." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (January 1, 2014): 52–68. http://dx.doi.org/10.33178/scenario.8.1.5.

Full text

Abstract:

In this paper we discuss the construct of ‘dual affect’ and its relevance to drama pedagogy in a foreign language teaching context. We draw on a research project involving a group of advanced learners of Italian using drama-based strategies. We begin with a theoretical discussion of dual affect, aesthetic distance, and protection mechanisms in the drama/language classroom. Next, we contextualise the research study and analyse student-participants’ responses in selected moments of the drama. The analysis suggests that, while some student-participants experienced the dual affect of drama as a threat, others found it a stimulus for reflection and a challenge. We argue that this may have had an impact on their perceived learning outcomes and on their willingness to communicate in the target language. We take this opportunity to reflect on the importance of managing dual affect in the process drama classroom, especially when working with advanced language students who have no prior experience in drama-based pedagogy.

APA, Harvard, Vancouver, ISO, and other styles

16

Dines, Martin, and Sergio Rigoletto. "Country cousins: Europeanness, sexuality and locality in contemporary Italian television." Modern Italy 17, no. 4 (November 2012): 479–91. http://dx.doi.org/10.1080/13532944.2012.706999.

Full text

Abstract:

This article examines the consequences of the concurrence of a recent surge of interest in LGBT lives in the Italian media with the perceived transformation of Spain. Long considered Italy's close – though inferior – cultural cousin, Spain has been seen to be forging its own path with the reforms of the Zapatero administration, gay marriage especially. The article focuses on Il padre delle spose (RAIl, 2006), which generated intense discussion across the political spectrum precisely during the period in which the issue of recognising domestic partnerships between same-sex couples was being contested in Italy. The drama and surrounding media debates are analysed in order to articulate both the anxieties and the sense of opportunity brought about by Spain's ‘sorpasso’ of Italy. The drama is also informative for the way it reverses the standard ‘metropolitan’ trajectory of LGBT narrative. By relocating its lesbian protagonists to rural Puglia, the drama indicates how local traditions might be better able to respond to hetero-patriarchal oppression than imported ideals of ‘coming out’. Further, the drama's emphasis on local forms of solidarity suggests an alternative vision of LGBT existence to the one increasingly dominant across Europe and the West which privileges economically productive subjects.

APA, Harvard, Vancouver, ISO, and other styles

17

Dalziel, Fiona, and Erika Piazzoli. "“It comes from you”: Agency in adult asylum seekers’ language learning through Process Drama." Language Learning in Higher Education 9, no. 1 (July 26, 2019): 7–32. http://dx.doi.org/10.1515/cercles-2019-0001.

Full text

Abstract:

Abstract In this paper, we present a study of adult asylum seekers learning Italian as a Second Language through Process Drama. Adopting an ecology of language approach, we first set the scene by examining some of the most salient issues regarding the language learning needs of asylum seekers and refugees, including the challenge of fostering both language proficiency and a sense of autonomy and agency. We then introduce the topic of performative, or drama-based pedagogy, focussing on how this has been adopted for second-language learning, presenting the main features of Process Drama. We go on to evaluate a number of drama-based projects aimed specifically at adult asylum seekers and refugees before presenting the specific context of this study. The Process Drama sessions, organised in the 2016/2107 year, were part of a project called “Cultura e Accoglienza”, which allowed for the enrolment of 30 asylum seekers as “guest students” at the University of Padova in Northern Italy. In particular, we look at one of the Process Drama sessions, in which the participants became members of an association of community workers welcoming migrants, and the teacher took on the role of the asylum seeker. Through the dramatic frame, we, as facilitators, drew on the learners’ expertise in settling into the Italian culture, and in welcoming new arrivals. Our aim was that of using ‘time’, ‘place’ and ‘role reversal’ as distancing devices to challenge the notion of ‘otherness’. The analysis from videos, focus groups and teacher journals suggests that the drama gave participants the chance to shift perspective, and that this impacted on their sense of agency as second language learners.

APA, Harvard, Vancouver, ISO, and other styles

18

Johnson-Haddad, Miranda, Michele Marrapodi, A. J. Hoenselaars, Marcello Cappuzzo, and L. Falzon Santucci. "Shakespeare's Italy: Functions of Italian Locations in Renaissance Drama." Shakespeare Quarterly 49, no. 1 (1998): 105. http://dx.doi.org/10.2307/2902218.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Barish, Jonas. "The Problem of Closet Drama in the Italian Renaissance." Italica 71, no. 1 (1994): 4. http://dx.doi.org/10.2307/479405.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Cardullo, Robert J. "Postwar Italian drama and the theater of Carlo Terron." Neohelicon 41, no. 1 (July 24, 2012): 229–39. http://dx.doi.org/10.1007/s11059-012-0153-x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Piazzoli, Erika. "Engage or Entertain? The Nature of Teacher/Participant Collaboration in Process Drama for Additional Language Teaching." Scenario: A Journal of Performative Teaching, Learning, Research VI, no. 2 (July 1, 2012): 28–46. http://dx.doi.org/10.33178/scenario.6.2.5.

Full text

Abstract:

This paper was presented at the conference ‘Plot me no plots: Theatre for University Language teaching’ held at the University of Padua in October 2011. The presentation included a practical demonstration of the teacher-in-role strategy and a discussion. Process drama is an experiential approach that has been gaining momentum in the field of language teaching; it is a genre of applied theatre in which the participants, together with the facilitator, engage in the co-construction of a story. As an improvised dramatic form, it encourages negotiation of meaning through the process of experience and reflection. In this article, I reflect on the nature of the collaborative process between teacher and participants in process drama, drawing on my doctoral research on the aesthetics of process drama for teaching additional languages. In this research, I worked with three cohorts of adult language learners, studying Italian as a Second Language (L2), and three cohorts of teachers of Italian (L2) new to drama. I draw on classroom data to illustrate two of the main dramatic strategies of the form: ‘teacher-in-role’ and ‘mantle of the expert’. I introduce these strategies, situate them in a theoretical context and discuss issues and implications when teaching to engage, rather than to entertain.

APA, Harvard, Vancouver, ISO, and other styles

22

Crea, Teresa. "New Forms, New Relationships." New Theatre Quarterly 8, no. 29 (February 1992): 75–80. http://dx.doi.org/10.1017/s0266464x00006345.

Full text

Abstract:

DID YOUR DESIRE to start up an Italian theatre in Australia arise from your visiting the town your parents came from in Calabria?No, but certainly visiting that town in Calabria influenced the type of Italian theatre I wanted to make. My desire to do Italian theatre was a desire to do something I was interested in – I'd been studying drama and also studying Italian formally, both were of interest to me, and I felt that the two could be combined. At the time, strategically, I also met Christopher Bell, who was interested in both things as well.

APA, Harvard, Vancouver, ISO, and other styles

23

Sowell, Madison U., and Deirdre O'Grady. "The Last Troubadours: Poetic Drama in Italian Opera 1597-1887." Rocky Mountain Review of Language and Literature 45, no. 4 (1991): 268. http://dx.doi.org/10.2307/1347847.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Bujic, Bojan, and Deirdre O'Grady. "The Last Troubadours: Poetic Drama in Italian Opera 1597-1887." Modern Language Review 90, no. 1 (January 1995): 218. http://dx.doi.org/10.2307/3733341.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Fletcher, Stella. "Review: Shakespeare's Italy: Functions of Italian Locations in Renaissance Drama." Literature & History 5, no. 1 (March 1996): 100. http://dx.doi.org/10.1177/030619739600500112.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Данченко, Мария. "КУЛЬТУРНА СПЕЦИФІКА ФРАНКО-ІТАЛІЙСЬКОЇ ДРАМИ РАННЬОГО РОКОКО." International Journal of Innovative Technologies in Social Science, no. 5(26) (June 30, 2020): 26–32. http://dx.doi.org/10.31435/rsglobal_ijitss/30062020/7134.

Full text

Abstract:

This article id dedicated to the issue of the genesis of literary rococo in French-Italian drama. In the following article we provide a brief review of theatrical activity of Italian troops in 1660-1720s and explore the formation of new French-Italian Stylistic concepts. Our research focuses particularly on the oeuvre of Luigi Riccoboni, a dramatist of Italian origin and Italian cultural background who wrote numerous scripts for the plays to be performed on French stage. With regard to the lack of studies of these French-Italian plays in Eastern Europe we provide an outline of Luigi Riccoboni's script for comedy "Le Libéral malgré lui" and analyze the intertwinig of Italian and French cultural elements in this play. Our study contributes to clobal research of French rococo in Eastern Europe and explores the aspect of formation of literary rococo in the process of collaboration between Italian and French authors. This article offers a new interpretation of Luigi Riccoboni's oeuvre as that of the first representative of rococo style both in Italian and French literature.

APA, Harvard, Vancouver, ISO, and other styles

27

Bibbò, Antonio. "Irish Theatre in Italy during the Second World War: translation and politics." Modern Italy 24, no. 1 (October 11, 2018): 45–61. http://dx.doi.org/10.1017/mit.2018.33.

Full text

Abstract:

Irish drama underwent an extraordinary rediscovery in Italy during the Second World War, primarily because of its political convenience (Ireland was a neutral nation) but also because of its aesthetic significance. Through an analysis of the role of key mediators I employ Irish literature as a lens to investigate a crucial moment of renewal within both Italian politics and theatre, emphasising strands of continuity between Fascist and post-Fascist practices. First, I show how a wartime ban on English and American plays prompted an interest in Irish drama and the fluid status of the Irish canon enabled authors of Irish origin (e.g. Eugene O’Neill), to be affiliated with Irish literature. I then move on to considering how this very fluidity facilitated the daring rebranding of Irish theatre as anti-fascist in Paolo Grassi’s ‘Collezione Teatro’, a key step in his position-taking at the centre of Italy’s theatrical field. Ireland was a substitute for England and appeared on Italian (political and literary) maps mainly thanks to its anti-English function. However, despite the politically inflected motivation of the various, often contrasting uses of the category ‘Irish drama’ in wartime Italy, this was the first time Irish literature had been widely acknowledged as a specific tradition within the Anglosphere in Italy.

APA, Harvard, Vancouver, ISO, and other styles

28

Akhmedova, Vazirakhon, and Maksimova Nataliya Leonidovna. "THE INFLUENCE OF WORLD DRAMATURGY ON THE DEVELOPMENT OF UZBEK DRAMATURGY DURING THE PERIOD OF INDEPENDENCE." Current Research Journal of Philological Sciences 5, no. 5 (May 1, 2024): 120–28. http://dx.doi.org/10.37547/philological-crjps-05-05-24.

Full text

Abstract:

This scientific article examines the general theoretical problems of Uzbek drama of the period of independence. The subject area of Uzbek dramaturgy, theoretical problems of dramaturgy, theoretical aspects of world dramaturgy, in particular, French, German, Spanish and Italian dramaturgy, are subjected to comparative analysis.

APA, Harvard, Vancouver, ISO, and other styles

29

Buonanno, Milly. "The ‘Sailor’ and the ‘Peasant’: The Italian Police Series between Foreign and Domestic." Media International Australia 115, no. 1 (May 2005): 48–59. http://dx.doi.org/10.1177/1329878x0511500106.

Full text

Abstract:

Applying the categorisation made by Walter Benjamin as regards popular storytelling — stories told by sailors, and stories told by peasants, the former being internationally oriented and the latter locally based — this paper reconsiders the history of Italian police drama as in transition from ‘foreign’ or international to ‘domestic’ or national/local storytelling. This transition follows three phases: the adaptation of foreign classics in the first two decades of the Italian television; the emergence of the domestic voice in the 1970s and 1980s, when locally based police series were produced, although in the context of a television supply widely internationalised by massive slates of foreign imports; and the establishment and popularity of the now hegemonic formula, all'italiana, from the 1990s onwards. The contemporary police drama is now a fully localised genre, yet this doesn't disguise the footprints of a transnationalisation which is still underway, whereby the sailor's and the peasant's voices converge and merge.

APA, Harvard, Vancouver, ISO, and other styles

30

Trojan, Ivan, and Jurica Vuco. "Expressionism in the 'Midnight' by Josip Kulundžić." Zbornik Akademije umetnosti, no. 9 (2021): 187–202. http://dx.doi.org/10.5937/zbaku2109187t.

Full text

Abstract:

The aim of this paper is to get an insight into a part of Josip Kulundžić's expressionist drama through the analysis of the play Midnight and the playwright's attitude towards drama and dramatic and theatrical theories of the Italian playwright Luigi Pirandello. Starting from the assumption that Kulundžić's expressionist dramatic opus is one of the paradigmatic and poetically most significant dramatic opuses of Croatian and Serbian dramatic expressionism, the first part of the paper will systematise Josip Kulundžić's expressionist dramatic opus, show its features and value, and through the analyses of the play Midnight mark the author's attitude towards pirandelism as a significant phenomenon on the then world drama and theatre scene. This revalues the significance and role of Josip Kulundžić and his dramatic work within the framework of Croatian and Serbian literature of the first half of the 20th century.

APA, Harvard, Vancouver, ISO, and other styles

31

Clare, Janet, Michele Marrapodi, and Giorgio Melchiori. "The Italian World of English Renaissance Drama: Cultural Exchange and Intertextuality." Modern Language Review 96, no. 1 (January 2001): 158. http://dx.doi.org/10.2307/3735736.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Licastro, Emanuele. "Review: Twentieth-Century Italian Drama: An Anthology the First Fifty Years." Forum Italicum: A Journal of Italian Studies 31, no. 2 (September 1997): 561–63. http://dx.doi.org/10.1177/001458589703100221.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Cunico, Sonia. "Translating (dis)ordered speech in drama." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 1 (October 24, 2005): 1–15. http://dx.doi.org/10.1075/babel.51.1.01cun.

Full text

Abstract:

Abstract Although the topic of the representation of madness is a rich and much studied one in literary criticism, so far there has been no systematic attempt to analyse the language of madness in dramatic texts, either within the same language and culture or across them. This paper compares the strategies used to characterise the growing insanity of the king and the dynamics of his interaction with Willis, the doctor, in Alan Bennett’s successful play The Madness of George III (1992) with those in its published translation into Italian (1996). The article shows how an analysis of the strategies used in the source text is a necessary initial step 1) to reveal the systematic patterns of linguistic deviance (drawn from the language of real schizophrenia) which characterise King George’s madness, and 2) to highlight the battle for power between the two characters shown in their linguistic choices. These are key themes of the play which must be successfully transferred across in the target text. Résumé Bien que le thème de la représentation de la folie soit riche et ait été beaucoup étudié dans le domaine de la critique littéraire, il n’y a pas eu jusqu’ici de tentative systématique d’analyser le langage de la folie dans des textes dramatiques, ni dans la même langue et culture, ni dans des langues et cultures étrangères. Cet article compare les stratégies utilisées pour caractériser la folie grandissante du roi et la dynamique de son interaction avec le médecin Willis, dans la pièce à succès d’Alan Bennett, Th e Madness of George III (1992), avec celles de sa traduction publiée en italien (1996). L’article montre comment une analyse des stratégies utilisées dans le texte-source est une étape initiale nécessaire pour 1) révéler les modèles systématiques de déviance linguistique (tirés du langage de la véritable schizophrénie) qui caractérisent la folie du Roi George, et pour 2) souligner la lutte de pouvoir entre les deux personnages, qui se manifeste dans leurs choix linguistiques. Ce sont des thèmes-clés de la pièce qu’il faut réussir à transférer dans le texte cible.

APA, Harvard, Vancouver, ISO, and other styles

34

Concilio, Carmen. "Alzheimer’s, Memory, Migration from Istria: Caterina Edward’s Finding Rosa." Italian Canadiana 37, no. 1 (November 15, 2023): 91–105. http://dx.doi.org/10.33137/ic.v37i1.42106.

Full text

Abstract:

Finding Rosa (2008) is a quest for the documentation that might prove the true identity, provenance, and date of birth of Caterina’s mother, Rosa. Diagnosed with Alzheimer’s disease, Rosa is slowly losing her mind and memory; therefore, it becomes even more urgent to know the truth about her early life in Istria. Istria’s international, complex history is unravelled in the novel, while a story of migration from that former Italian territory – first to England and finally to Canada – grows into a historical drama of forced removals, refugee camps, and diaspora for the majority of Italian Istrians, forced to abandon their abodes by the pressure of Tito’s Yugoslavia in 1947, the year of the so-called “Great exodus.” On the one hand, Ageing and Alzheimer’s Studies can help us understand Rosa’s medical condition, as well as the condition of Caterina in the role of caregiver, within the structure and drama of a memoir and a Familienroman; on the other hand, Historical and Border Studies are the methodological frameworks with which to look at Istria in this revealing historical novel.

APA, Harvard, Vancouver, ISO, and other styles

35

Jordan, Peter E. R. "Second Language Acquisition And Linguistic Freedom Through Drama." English Review: Journal of English Education 4, no. 1 (December 1, 2015): 15. http://dx.doi.org/10.25134/erjee.v4i1.312.

Full text

Abstract:

The important part played by drama in second language acquisition has long been appreciated. An active and inter-active teaching environment facilitates learning in a number of ways, by motivating and sustaining attention, as well as offering a secure environment for experimentation. Drama offers students a pro-active approach to learning, promoting a collective feeling of being in a shared enterprise. This paper discusses how drama can make a significant contribution to second language acquisition. In particular, I focus on the techniques of the Italian Commedia dell’Arte, the first truly professional theatre form to emerge in Europe in the mid-sixteenth century. Its core elements of improvisation and mask are highly effective tools in language learning, empowering students and allowing them to take ownership of the unfamiliar. Improvisation provides a dramatically engaging forum for experimentation that can help to overcome cognitive blocks and prioritise communication as the ultimate imperative. Masks which leave the mouth free for speech can help students overcome the natural inhibitions that often come with attempts to express oneself in an unfamiliar linguistic code.Keywords: language acquisition, drama, improvisation, mask

APA, Harvard, Vancouver, ISO, and other styles

36

Solberg, E. Maggie. "Review: The State of the Field: Seven Recent Monographs in Early Drama Studies." Romard 59 (2022): 5–11. http://dx.doi.org/10.32773/yywe3777.

Full text

Abstract:

This overview of the state of the field in medieval and early drama studies reviews seven monographs published between 2019 and 2021 in English on English, French, and Italian drama written and/or performed up until the seventeenth century. This overview tracks several key patterns that characterize these monographs and represent the state of the field, most notably, a continued commitment to the tradition of archival research working in tandem with innovative applications of literary and cultural theory. Lastly, this review looks ahead and asks where the field might be heading, pointing to recent and forthcoming publications on race, disability theory, and the global Middle Ages.

APA, Harvard, Vancouver, ISO, and other styles

37

Ioannidou, Eleftheria. "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism." Classical Receptions Journal 16, no. 1 (January 1, 2024): 35–55. http://dx.doi.org/10.1093/crj/clad028.

Full text

Abstract:

Abstract The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist government in 1923 advocated for the staging of modern Sicilian plays in the theatre of Syracuse. Contrary to Futurism, Italian Fascism turned to Greek models in creating new forms of popular theatre. Mussolini’s state supported the production of ancient drama throughout the ventennio, as evidenced by the consolidation of the Istituto Nazionale del Dramma Antico (INDA) in 1925. The theatre of Syracuse should be viewed as a field of antagonism between the different versions of modernism represented by Futurism and Fascism. By examining the convergences and divergences of Futurist and Fascist visions of theatrical renewal, this article highlights not only the Hellenic character of Fascism’s modernism but also the role of Fascism in transforming classical traditions.

APA, Harvard, Vancouver, ISO, and other styles

38

Langenbacher, Eric. "The Drama of 2005 and the Future of German Politics." German Politics and Society 24, no. 1 (March 1, 2006): 1–10. http://dx.doi.org/10.3167/104503006780935289.

Full text

Abstract:

I recall a conversation from a while back with a colleague. He wasdisdainful of German politics, stating that they are ponderous, lackluster,even boring. He prefers to follow Italian politics because ofthe intrigue, emotion, and, most of all, the drama. Although forcedto agree at the time that the contrast between the two countriescould not be greater, I was also immediately reminded of the old(apocryphal) Chinese curse, “may you live in interesting times.”

APA, Harvard, Vancouver, ISO, and other styles

39

Bora, Simona Floare. "Exploring learners’ perceptions towards collaborative work through drama in foreign language learning: A view from a mandatory Italian high-school curriculum." Scenario: A Journal for Performative Teaching, Learning, Research XIII, no. 2 (December 10, 2019): 171–86. http://dx.doi.org/10.33178/scenario.13.2.11.

Full text

Abstract:

This article focuses on learners’ perceptions related to the collaborative work through a drama project undertaken as part of a rather rigid high-school mandatory curriculum. The project aimed to offer a dynamic and safe learning environment in which learners could acquire language in an interactive and collaborative way and to help the learners to develop their oral skills and increase their motivation towards learning a foreign language. A class of final year Italian students (n=10) with a level of language ranging from low intermediate to upper intermediate took part in the drama classes which were implemented longitudinally over two academic terms (20 weeks): self-standing play excerpts combined with drama games in the second term followed by a full-scale performance of a single play in the third term. Data were collected through a semi-structured questionnaire, follow-up interviews and researcher’s field notes. Findings revealed that learners perceived that collaboration and interaction through drama were important elements for promoting a positive attitude towards learning a foreign language and their oral production despite the challenges that a full-scale production may pose when subjected to the various constraints of time and the syllabus requirements of a compulsory curriculum.

APA, Harvard, Vancouver, ISO, and other styles

40

Dalziel, Fiona. "Aroused from a “false sense of neutrality“." Scenario: A Journal for Performative Teaching, Learning, Research XV, no. 2 (December 31, 2021): 80–84. http://dx.doi.org/10.33178/scenario.15.2.7.

Full text

Abstract:

The three black and white photographs that provide the impetus for this piece are the work of students participating in an English drama workshop at an Italian university. The brief discussion around the tableaux task “Art is not neutral”, inspired by Cañas’ manifesto, is framed by critical language pedagogy and addresses the issue of students’ agency as socially-responsible citizens.

APA, Harvard, Vancouver, ISO, and other styles

41

Li, Qiang. "Peculiarities of the mutual influence of Italian and Chinese musical theater tradition in historical development." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 67, no. 67 (October 22, 2023): 56–77. http://dx.doi.org/10.34064/khnum1-67.04.

Full text

Abstract:

Statement of the problem. Modern opera performance art in China is closely related to the national theater tradition, which has a thousand-year history. Despite the fact that Italian (and generally European) musical and dramatic art has been known in China for more than a few century, the public did not perceive it for a long time due to significant differences in many aspects: from stage dramaturgy, vocal roles to behavioral norms in the theater institutions. This study draws historical parallels between Italian opera and national Chinese music-theatre art and examines attempts to adapt Italian vocal art to Chinese. Objectives, methods, novelty of the research. In this investigation, we tried to find common and distinctive features in Italian and Chinese musical theater by comparison, as well as to identify the factors that influence the perception of the theater work by the Chinese public. The scientific novelty of the study lies in the fact that for the first time the path taken to adapt Italian vocal art to the Chinese language, the national musical theater and its audience is analyzed, and the role of tradition in this process. The main research method is comparative, with the help of which the common and distinctive features of Chinese and Italian musical theater are revealed; methods of historical musicology and cultural studies were also used. Research results. The development of Italian and Chinese musical theater in certain historical periods took place in parallel, so they have a number of similar typological features. Both Chinese and Italian theaters synthesize different types of art: singing, ballet, visual series (decoration, costumes), dramatic action. At the same time, they are fundamentally different manifestations of theatrical art. In Chinese opera, the visual component is of great importance – costumes, make-up, decor, etc., and the content and plot vicissitudes are deliberately simplified so that the audience is not distracted, but can enjoy the spectacle. The difference of Chinese opera is circus art: the actors had to have acrobatic and fighting skills and impress the audience with them. In Italian opera at the stage of its formation, the visual series was given great importance, but due to the fact that the authors of the first opera models (Florentines) considered as a model the Greek drama with its idea of moral improvement through catharsis, its dramaturgy is radically different from that of the Chinese theater; therefore, tragedies and dramas were not perceived by the Chinese audience who went to the theater to be entertained and enjoy the skill of the actors. For quite a long period after the penetration of European culture, the Chinese public did not perceive works of Western art, treated them as exotic and often did not understand their essence, aesthetics and value in general. The main obstacle was usually the language, but also the content of the theatrical works of European playwrights, translated into Chinese, did not find a response in the audience, despite the rather significant commonality in plots, themes, and issues. The public did not understand complex ideas that were accompanied by dramatic events or had a tragic ending. Conclusion. Italian and Chinese opera have many common features, but differ in their basis, and the Chinese audience did not perceive Western art for so long because of the fundamental difference in the approach to the visual and content aspects. The originality of Chinese theater drama consists in maximum visualization, which distinguishes it from European drama, in which the content is the basis of the work. The formation of modern opera performing art in China took place in the middle of the 20th century, and this process has a distinctive feature: modern national opera in European traditions was created in order to interest the Chinese public, to draw their attention to the new art. The first example of such an opera (yangban xi) – “The White-Haired Girl “(1945), created by the team of authors of the Academy of Fine Arts named after Lu Xin, became popular among the Chinese, which confirmed the correctness of the creative approach that combined European forms and Chinese performance traditions. In addition, the work was adapted for plastic (ballet), screen and traditional theater (xìqǔ) arts. The appearance of such productions contributed to the fact that the public gradually got used to European opera, and today Chinese opera art is widely represented on the national and world stages. In the years since the appearance of the first Western-style national opera, Chinese singers have mastered various classical vocal styles: Italian bel canto, traditional Chinese singing, Chinese bel canto, and now represent their own national vocal school on world stages.

APA, Harvard, Vancouver, ISO, and other styles

42

Di Martino, Giovanna, Eleftheria Ioannidou, and Sara Troiani. "Introduction A Hellenic Modernism: Greek Theatre and Italian Fascism." Classical Receptions Journal 16, no. 1 (January 1, 2024): 1–15. http://dx.doi.org/10.1093/crj/clad026.

Full text

Abstract:

Abstract The introduction to the special issue explores the central place of Greek theatre within the culture of Italian Fascism. Building on scholarship from the so-called cultural turn in the study of fascism, which variously identified fascism with a form of modernism, it demonstrates that a dialogue between modernism and classicism was fully at work in the performances of ancient drama occurring all over the Italian peninsula and in the colonies in North Africa. The term ‘Hellenic modernism’ is introduced here to underline the fusion of Greek theatre with distinctively modernist traits during the ventennio and provide an analytical tool for investigating the role of classical performances and spectacles within Fascism’s programme of cultural and national renewal.

APA, Harvard, Vancouver, ISO, and other styles

43

Hunter, Mary. "Text, Music, and Drama in Haydn's Italian Opera Arias: Four Case Studies." Journal of Musicology 7, no. 1 (January 1, 1989): 29–57. http://dx.doi.org/10.2307/763619.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Hunter, Mary. "Text, Music, and Drama in Haydn's Italian Opera Arias: Four Case Studies." Journal of Musicology 7, no. 1 (January 1989): 29–57. http://dx.doi.org/10.1525/jm.1989.7.1.03a00030.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Ambrosetti, Ronald. "“Next Door to the Earthly Paradise”: Mythic Pattern in Italian-American Drama." Journal of Popular Culture 19, no. 3 (December 1985): 109–18. http://dx.doi.org/10.1111/j.0022-3840.1985.1903_109.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Carroll, Linda L. "Who's on Top? Gender as Societal Power Configuration in Italian Renaissance Drama." Sixteenth Century Journal 20, no. 4 (1989): 531. http://dx.doi.org/10.2307/2541286.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Polesso, Paola. "Searching for a Satyr Play: the Significance of the ‘Parodos’." New Theatre Quarterly 4, no. 16 (November 1988): 321–25. http://dx.doi.org/10.1017/s0266464x0000289x.

Full text

Abstract:

The parodos is the first appearance of the Chorus in a classical Greek drama, an occurrence common to tragedy, comedy – and that curious hybrid form, of which very few examples are extant, the satyr play. One of the two complete surviving, texts is the Ichneutai or Searching Satyrs of Sophocles: and in the following exercise in literary detection. Paola Polesso bases her investigation of the play not only on linguistic evidence but on clues which emerge from seeing the play in performance, to suggest the chronological context with in which the play may now be more precisely placed. Dr. Polesso, who presently teaches drama in the University of Bologna, has acted as assistant director to Luca Ronconi, and has been a contributor to numerous Italian theatre journals.

APA, Harvard, Vancouver, ISO, and other styles

48

Koman, Aleksandra. "Metatheatre of Pirandello as an Attempt to (Re)define the Theatre." Literaturoznawstwo 1, no. 13 (April 30, 2020): 45–55. http://dx.doi.org/10.25312/2451-1595.13/2019__04ak.

Full text

Abstract:

Luigi Pirandello is one of the greatest creators of the metatheatre. The Italian Nobel Prize winner has tried for years to explore the unclear status of theatrical performances, exposing the paradoxical truths and relations in which the spectacle is implicated. The metatheatrical trilogy of Pirandello includes the following dramas: Six characters in search of an author, Tonight we improvise and Each in his own way. Despite the fact that these texts put emphasis on various aspects of the same problem, they constitute an extremely coherent and – most importantly – up-to-date reflection on the nature of the medium they represent. The action of these dramas take place within a microcosm of indefinite boundaries and its fiction, contrary to accepted conventions, blends into the real world, blurring the border between art and life, imitation and original, truth and falsehood. The author of the article investigates the metatheatrical experiments of the Sicilian master in the three above-mentioned dramas, demonstrating how Pirandellian games with theatre’s conventions and stage illusion changes (broadens) the understanding of the theatrical spectacle and stage fiction. Keywords: Pirandello, metatheatre, modern drama, stage illusion, act of creation, imitation, truth, awareness of fiction

APA, Harvard, Vancouver, ISO, and other styles

49

Schmenk, Barbara. "Helga Tschurtschenthaler: Drama-based foreign language learning. Encounters between self and other." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 1 (January 1, 2016): 107–10. http://dx.doi.org/10.33178/scenario.10.1.8.

Full text

Abstract:

Book reviews reflect the views and opinions of the respective reviewers and do not necessarily represent the position of SCENARIO. Helga Tschurtschenthaler’s study is one of the most important scholarly contributions in recent years to the field of drama-based foreign language teaching. She conducted her research in an EFL class in an upper secondary school in multilingual South Tyrol and presents a plethora of data that demonstrates the impact of drama in foreign language education on students’ sense of self as emerging multilingual subjects (Kramsch 2009). What stands out about this study, besides its detailed presentation and analysis of student data, is the fact that Tschurtschenthaler succeeds in connecting recent theoretical contributions to the fields of language education and identity to more practical considerations. Overcoming the gap between theory and practice in this domain is one of her signal achievements. “You are not you when you speak Italian. It’s as if you become someone else when you change into Italian. You don’t only sound different, but you even behave differently. Then, you’re not the person I know.” (11) These are the opening lines of the book, leading the reader directly to its main subject. Tschurtschenthaler explains that it was a ...

APA, Harvard, Vancouver, ISO, and other styles

50

Fonio, Filippo, and Geneviève Genicot. "The compatibility of drama language teaching and CEFR objectives – observations on a rationale for an artistic approach to foreign language teaching at an academic level." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 2 (July 1, 2011): 75–89. http://dx.doi.org/10.33178/scenario.5.2.6.

Full text

Abstract:

The elaboration of the rationale proposed here finds its roots in an examination of the CEFR (Common European Framework of Reference for Languages) parameters. We are notably interested in highlighting the importance of artistic practice – and in particular of drama performance – in the context of foreign language learning. We are thus proposing here considerations concerned with the estimation of artistic practice as a specific way of teaching and learning foreign languages. Our usual target group consists of Bachelor and Master students interested in learning Italian through drama techniques but whose subject is not primarily Modern Languages (non-specialist students). By proposing a set of standard skills that match CEFR parameters with artistic pedagogy training, we intend to promote valuable criteria for teachers, learners and examiners in order to promote language learning through artistic practice syllabi.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!