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Journal articles on the topic 'Monodrama'

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Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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1

AL-KUBAISI, Iman Abdul Sattar Atallah. "REINCARNATION AND NON-REINCARNATION IN THE ACTING PERFORMANCE OF MONODRAMA." International Journal Of Education And Language Studies 2, no. 2 (June 1, 2021): 33–49. http://dx.doi.org/10.47832/2791-9323.2-2.4.

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The problem of tagged research (reincarnation and reincarnation) boils down to the representative performance of monodrama Ask (how present is the reincarnation and presentation style in the monodrama show?) while the importance of the research was reflected in the highlighting (the specificity of the performance of the actor in the monodramatic play as an ancient art, and what the performance of the actor in monodrama and his style between presentation and reincarnation. The current research aims to reveal the style of reincarnation and presentation in the representative performance of monodrama, and determines the research with monodrama presentations presented in Baghdad for the period (2015-2018) and the terms of research (Reincarnation, Monodrama) were identified, while the second chapter focused on two topics, the first of which was what monodrama is and its roots, while the second focused on the technique of performance in monodrama. The Researcher took the descriptive approach as a way to conduct her research after she got the research community consisting of (5) monodramatic performances through which the sample was randomly elected through the draw by the reality of a theatrical work (EAA Harema) and after analyzing the theatrical performance the results of the research appeared from the most prominent (the use of the two methods of performance, reincarnation in the character of the man or reincarnation in the simulation of other characters. The use of kinetic and vocal skill in presenting the character (officer) and others, reaching a sensory embodiment of the character of war is invisible, and making it felt by Receiver) The researcher concluded what comes (the actor who deals with the work of Monodrami must master the tragic and comedic performance and blend them.The researcher recommended the need to prepare special workshops to write, direct and represent monodrama.

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2

Bortnik, Zhanna. "Суб’єктна організація сучасної монодрами як основний носій жанру." Studia Ucrainica Varsoviensia 5, no. 5 (May 8, 2017): 127–0. http://dx.doi.org/10.5604/01.3001.0009.9096.

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In this paper the main features of modern monodramа with the help of “system-subjective” method of research are overviewed. This method refers to the fore mono-subjective organization оf monodrama through the implementation of the external shared consciousness of a single entity action. It is noted that the loss of integrity monodrama for consciousness is linked to an internal confl ict I / I-Other, where I-Other object is to study the character. Subject of the action in this genre embodies and articulates one individual consciousness, consciousness corresponds to one subject, several characters can display images of their divided consciousness.. Lyric monodrama demonstrates the implementation of principles through the explicit manifestation of epic principles through the implicit expression of the author’s mind. The internal dialectical contradiction lies at the heart of the genre – the only divided consciousness character and attraction to epic / lyrical – cause the modification and transformation of modern monodrama.

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3

Filippov, G., and Karina Razukhina. "The hero / protagonist and the recipient in the monodrama “The Death of Firs” by V. Levanov." Semiotic studies 1, no. 4 (April 1, 2022): 39–45. http://dx.doi.org/10.18287/2782-2966-2021-1-4-39-45.

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In V. Levanovs monodrama The Death of Firs, there is an increase in performatization characteristic of the contemporary drama. The character deduced by V. Levanov is linked by an intertextual thread with the works of Chekhov and transforms into a complex personality, whose identity is revealed through a detailed monologue statement. In order to highlight the characteristic features of the recipient and the character in V. Levanovs monodrama, it is necessary to take into account the performative potential of the text and its influence on the transformation of these categories in the monodrama. Thus, the recipient of the monodrama becomes an accomplice of the communicative act according to the principle of total involvement, and the theatrical enactment of the monologue action is deliberately highlighted by the structure of the text. In this regard, it is necessary to reconsider the influence of the position of the such a subject on the receptive potential of the reader / viewer. Taking into account the monodramas orientation to the extremely personal, the loss / search of identity by the character significantly affects the reduction of the distance between the word and the action, the hero / protagonist and the recipient. The purpose of this article is to comprehend the key categories of the character and the recipient for the monodrama on the material of the play Death of Firs in the context of the peculiarities of the monodramatic compositional speech construction. For this purpose, the authors refer to the works of M. Lipovetsky, S. Lavlinsky, E. Davydova, A. Pavlov and others. Meanwhile, the researchers have repeatedly examined V. Levanovs monodrama from the point of view of the anthropological characteristics of the hero / protagonist and the specifics of the narrative organization of the text. In this study, we first attempted to analyze V. Levanovs play The Death of Firs from the point of view of theoretical poetics and a receptive-aesthetic approach.

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4

Ishak, Ismaliza. "TRANSFORMATION APPRECIATION OF MONODRAMA "LADY SWETTENHAM" AND "GREEN LIGHT"." International Journal of Creative Industries 1, no. 1 (September 15, 2019): 15–26. http://dx.doi.org/10.35631/ijcrei.11002.

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This article is aimed at analyzing the transformation method applied by two selected monodrama actors, Sabera Shaik in monodrama theater "Lady Swettenham" and Shahrul Mizad Asyaari in the monodrama theater "Waiting for the Green Light". This study takes into account some of the transformation methods used for conveying appreciation and visually inspiring the audience. Through the survey method of secondary and premature data and directly involved in the spectacle, the illustration is clearly detailed through scientific analysis in the performance of monodrama acting. These two presentations can illustrate the success of the transformation method and are indirectly made between the basic recommendations to the solo acting method. Using the Imitation theory approach by Albert Bandura and method acting (Stanislavski) this approach can be used as a benchmark for non-realistic acting representation.

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5

Ageeva, N. A. "Specificity of monodrama discourse." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2016): 116–25. http://dx.doi.org/10.17223/18137083/54/14.

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6

Hodak, Lydia Scheuermann, and Nina H. Kay-Antoljak. "Maria's Pictures: A Monodrama." PAJ: A Journal of Performance and Art 26, no. 2 (May 2004): 115–30. http://dx.doi.org/10.1162/152028104323048359.

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7

Lackner, Gerald. "Monodrama mit traumatisierten Flüchtlingen." Psychotherapie Forum 13, no. 1 (March 2005): 17–25. http://dx.doi.org/10.1007/s00729-005-0074-5.

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8

Kukushkina, Evgeniya. "Monodrama in Malaysian National Dramaturgy: a Retrospective of the Emergence of the Genre." Litera, no. 9 (September 2022): 19–32. http://dx.doi.org/10.25136/2409-8698.2022.9.38753.

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The article focuses on the well-known Malaysian dramatic texts, created in the last third of the twentieth century, the generic features of monodrama in these plays being the main research subject. The purpose of the analysis is to demonstrate monodramatic nature of the works and to establish the time of the birth of Malay monodrama, as well as the reasons why the genre for a long time was not denominated as such. The analysis involves historical-cultural, analytical and comparative methods. Historical and cultural method allows to scrutinize the genre under study in the context of the post-realistic theater of Malaysia, which was born as a reaction to the tragic events of the second half of the twentieth century in the country. Analytical method is used to identify the essential generic features of the studied texts, whereas with the help of comparative method, the artistic features of these texts are matched with the genre characteristics of monodrama. Today, the Malay monodrama is undeservedly deprived of the attention of specialists, although its role on the stage of the country is quite noticeable. This determines the novelty and relevance of the work. The performed research shows that Malay monodrama is much older than is commonly believed, and has existed for almost half a century. The study of the plays "Lazri Meon" by Abdul Samad Said and "Not Suicide" by Dinsman made it possible to identify the most important monodramatic features in them (the subject of representation, the dramatic plot and the conflict), thereby pushing the lower timeframe of existence of this genre in Malay playwriting first until the 1990s, and then - the 1970s. The appearance of a non-classical genre less than a quarter of a century after the birth of Malay drama also allows us to acknowledge the accelerated development of this type of literature in Malaysia.

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9

Antonov, Yu G. "Genre specificity of the monodrama by the Mordovian writer A. P. Teryoshkin «The Whistleblower»." Bulletin of Ugric studies 10, no. 4 (2020): 607–14. http://dx.doi.org/10.30624/2220-4156-2020-10-4-607-614.

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Introduction: the Mordovian drama genre paradigm develops constantly and is presently enriched with creative innovations that demonstrate the search for the new forms of interpreting reality and the ways to present individual and personal spirits of people. Innovative phenomena in drama update the ethnic art literature and make significant adjustments to its aesthetic evolution. The relevance of the article is determined by the need to understand the artistic processes taking place in Mordovian drama. The object of the study is the artistic particularities of A. Teryoshkin’s genre experiment in the monodrama «The Whistleblower». Objective: to analyze the genre specifics of the monodrama «The Whistleblower» by A. Teryoshkin. Research materials: the monodrama «The Whistleblower» by A. Teryoshkin. Results and novelty of the research: the scientific novelty of the article is due to the small study of the creative work of A. Teryoshkin as the dramatist. The author comes to the conclusion that the analysis of individual human destiny in the monodrama by A. Teryoshkin is carried out by means of self-reflection of the hero in the form of a monologue story revealing the inner motifs of actions. In general, all this reflects the complexity and multidimensionality of the surrounding reality. The fact that the playwright uses extraordinary artistic means within the genre form, innovative for the national literature, confirms his intention to develop the aesthetic framework of Mordovian drama.

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10

Исмаил гызы Дадашева, Ирада. "The genre of monodrama in the work of S.Beckett." SCIENTIFIC WORK 71, no. 10 (October 23, 2021): 7–11. http://dx.doi.org/10.36719/2663-4619/71/7-11.

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The article analyzes the text of the play by S. Beckett "Krapp's Last Ribbon", written by the author in 1958. The peculiarity of the poetics of monodrama in the period of crisis in the history of Western European theater is shown. The main theme of the play is loneliness. Complete loneliness was not only a theme, but also an aesthetic prerequisite that determined the very manner of the actor's play. Key words: monodrama, theater of the absurd, creation, contradiction, public conscience

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11

Hammer, Clemens. "Die Bedeutung sexueller Skripte im Monodrama." Zeitschrift für Psychodrama und Soziometrie 16, no. 2 (August 25, 2017): 247–59. http://dx.doi.org/10.1007/s11620-017-0395-8.

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12

Waldhelm-Auer, Bettina. "Monodrama in der Arbeit mit Suchtkranken." Zeitschrift für Psychodrama und Soziometrie 16, no. 2 (August 9, 2017): 311–18. http://dx.doi.org/10.1007/s11620-017-0398-5.

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13

Özer Danış, Gözde, and Özden Şükran Üneri. "A Lesser Known Aspect of Psychodrama: Monodrama." Journal of Clinical Psychiatry 20, no. 3 (2017): 238–42. http://dx.doi.org/10.5505/kpd.2017.47955.

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14

Rigg, Patricia. "Augusta Webster: The Social Politics of Monodrama." Victorian Review 26, no. 2 (2000): 75–107. http://dx.doi.org/10.1353/vcr.2000.0001.

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15

Karwaszewska, Monika. "Bordering on monodrama… Madame Curie by Elżbieta Sikora." Zbornik Akademije umetnosti, no. 10 (2022): 152–65. http://dx.doi.org/10.5937/zbaku2210152k.

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The subject of analysis is the contemporary opera Madame Curie (2010) by the Polish composer Elżbieta Sikora, premiered in 2011 in Paris. In an extremely emotional way, using innovative techniques for expression, the composer tells the story of the scientist Maria Skłodowska-Curie in the form of a script for the opera, with anxiety as the main idea of the libretto. This dramatic work is an example of an intermedia work in which the composer uses electronic media alongside traditional instruments. The composition is an intermedia spectacle revealing the symbolic significance of the sound emission interacting with the libretto, choreography, lighting, ancient Greek theatre form and an electronic medium. Despite being divided into scenes, the piece was directed using a single set representing the laboratory of the Polish Nobel Prize winner. The director patterned the staging of this opera after Greek theatre: for action on stage, the whole proscenium was used, and the orchestra was seated at the back of the stage (not in the orchestra pit), the soloists at the front, next to the spectators, while the conductor led the ensemble with the help of a video camera, not seeing the soloists. The chorus was amphitheatrically seated on chairs on both sides of the stage to follow the action on stage with the eye of a censor. Every role required of its actor great craft, extraordinary skill and professionalism. The aim of the presentation will have been a multi-aspect analysis and interpretation of the score and the recording of the opera, as well as a discussion of the characteristics of voice projection in this complex work. The article presents a comprehensive analysis and interpretation of the opera's score and recordng.

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16

Bosak, Iryna. "MONODRAMA IN POSTMODERN THEATRE: SPECIFICITY OF GENRE MODIFICATIONS." Knowledge, Education, Law, Management 1, no. 4 (2020): 62–66. http://dx.doi.org/10.51647/kelm.2020.4.1.12.

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17

Steidl, Markus. "Anwendungen von Intraintermediärobjekten bei Aufstellungen im psychotherapeutischen Monodrama." Zeitschrift für Psychodrama und Soziometrie 18, S1 (November 27, 2019): 81–95. http://dx.doi.org/10.1007/s11620-019-00515-2.

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18

Schotz, Amiel. "The Dying of the Light: An Actor Investigates Krapp's Last Tape." Theatre Research International 16, no. 1 (1991): 39–54. http://dx.doi.org/10.1017/s0307883300010014.

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Samuel Beckett's monodrama, Krapp's Last Tape, presents great challenges to the actor. A short piece, it is complex, many-layered and laconic. As always, Beckett never uses even one word, where silence will do. I rehearsed and performed the play some years ago and have continued to reflect on the play and the role of Krapp.

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19

Badir, Patricia. "Playing Solitaire: Spectatorship and Representation in Canadian Women's Monodrama." Theatre Research in Canada 13, no. 1-2 (January 1992): 120–33. http://dx.doi.org/10.3138/tric.13.1_2.120.

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20

Rachman, Stephen. "'The Raven': Monodrama for Mezzo-soprano, Viola, and Piano." Edgar Allan Poe Review 9, no. 1 (2008): 63–64. http://dx.doi.org/10.2307/41506286.

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21

Badir, Patricia. "Playing Solitaire: Spectatorship and Representation in Canadian Women's Monodrama." Theatre Research in Canada 13, no. 1 (January 1992): 120–33. http://dx.doi.org/10.3138/tric.13.1.120.

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This article analyses the performer/spectator dynamic present in the text and performance of some Canadian one-woman plays, and considers the re-positioning of the female as subject and the possible construction of an ideal female spectator. The article looks at both English- and French-language monologues in an attempt to understand the effects of cultural difference on performer/spectator relationships, focusing on Jovette Marchessault's Les Vaches de nuit, Marie Savard's Bien A moi, Sharon Pollack's Getting it Straight, Pamela Boyd's Inside Out, Beverly Simon's Preparing, and Janet Feindel's A Particular Class of Women.

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22

Longuenesse, Pierre. "Modernity in Yeats’s Theatre: towards a Poetic Monodrama Model." Études anglaises 68, no. 4 (2015): 411. http://dx.doi.org/10.3917/etan.684.0411.

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23

Kim, Jin Soo. "Traditions of Korean Folk Performances in the Contemporary Monodrama." Observatory of Culture, no. 4 (October 28, 2015): 46–51. http://dx.doi.org/10.25281/2072-3156-2015-0-4-46-51.

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He increasing interest to the one-actor theatre in Korea is caused by the existence of the pansori, a ballade performed by narrator to the accompaniment of a drum, in the Korean folk tradition. Nowadays, the Korean folk performance tradition is widely used by directors in contemporary monodramas. The article analyzes two performances: “The Byeoksok Fairy” (director - Sohn Jin chaek, actress - Kim Sung nuy) by Bae Sam Sik, a well-known Korean dramatist, which uses the traditions of the Korean folk performance madan nori; and the “Mother Courage and Her Children” (director - Nam In woo, actress - Yi Ja ram) by Bertolt Brecht, staged in the pansory style.

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24

Medeiros, Sergio. "O monodrama de Schoenberg e o “quadro vivo” de Beckett." Eutomia 1, no. 20 (February 19, 2018): 172. http://dx.doi.org/10.19134/eutomia-v1i20p172-179.

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Este texto busca mostrar que um poema em prosa de Beckett, “Un soir”/ “One evening”, possui um enredo muito parecido com o enredo de uma das obras-primas de Schoenberg, Erwartung. Contudo, se seu tema é o mesmo, sua linguagem é diferente, revelando uma experiência narrativa peculiar.Palavras-chave: Beckett; Schoenberg; poesia; música; noite; morte. Abstract: This paper tries to show that Beckett’s prose poem, “Un soir”/ “One evening”, has a plot very similar to the one of Schoenberg’s masterpieces, Erwartung. However, if its theme is the same, its language is different, showing a peculiar narrative experience.Key-words: Beckett; Schoenberg; poetry; music; night; death.

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25

Nikolaieva, O. Yu. "MONODRAMA-ANTIUTOPIA IN THE WORKS OF ALEXANDER IRVANTS: GENROLOGICAL ASPECT." Тrаnscarpathian Philological Studies 2, no. 17 (2021): 182–88. http://dx.doi.org/10.32782/tps2663-4880/2021.17-2.34.

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26

Tilley, Elspeth. "Staging a “Plurality of Vision”: Diasporic Performance in Polycharacter Monodrama." Modern Drama 55, no. 3 (September 2012): 304–28. http://dx.doi.org/10.3138/md.55.3.304.

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Tilley, Elspeth. "Staging a "Plurality of Vision": Diasporic Performance in Polycharacter Monodrama." Modern Drama 55, no. 3 (2012): 304–28. http://dx.doi.org/10.1353/mdr.2012.0046.

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28

Diamond, Catherine. "Dreaming our own Dreams: Singapore Monodrama and the Individual Talent." New Theatre Quarterly 24, no. 2 (May 2008): 170–88. http://dx.doi.org/10.1017/s0266464x08000146.

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For its size, Singapore hosts an exceptional amount of theatrical activity, emanating both from within the city state and from its role as sponsor of regional international workshops and productions. Its English-speaking dramatists are in the forefront of staging original plays about the foibles of Singaporean society and serving as mediators among South-east Asian theatre practitioners. While troupes depend on government funding and must obtain government permits to perform, most have opted to take an alternative position to the government's narrative of the Singapore success story. This has created an uneasy relationship that undermines the strength of the theatre's social-political critique and encourages self-censorship. In the following essay, Catherine Diamond examines the psychologically cramped conditions within which current Singaporean dramatists operate through a comparison of monodramas. Catherine Diamond is a professor of theatre at Soochow University in Taiwan, and a frequent contributor to NTQ. She is currently directing a flamenco dance-drama adaptation of The House of Bernarda Alba.

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29

Olsen, Andrew, and Daleen Kruger. "Examining the musical ‘Sprachvermögen’ in Hendrik Hofmeyr’s operatic monodrama Saartjie." Journal of the Musical Arts in Africa 16, no. 1-2 (July 3, 2019): 45–75. http://dx.doi.org/10.2989/18121004.2019.1686230.

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30

Ribeiro, Gustavo Silveira. "A experiência da destruição na poesia de Carlito Azevedo." O Eixo e a Roda: Revista de Literatura Brasileira 23, no. 1 (July 1, 2014): 69–81. http://dx.doi.org/10.17851/2358-9787.23.1.69-81.

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Um dos livros mais instigantes da recente poesia brasileira,Monodrama (2009), de Carlito Azevedo, propõe uma complexa meditação sobre a catástrofe, experiência fundamental do tempo presente, através da elaboração de imagens que procuram dar conta, ao mesmo tempo, da dimensão social e coletiva da destruição (voltadas, fundamentalmente, para a representação dos choques e aporias da paisagem urbana) e de seus desdobramentos subjetivos, configurados no texto como reflexão sobre o luto e reivindicação política da poesia frente ao mundo.

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31

Kabilova, E. "Performative in Sergei Davydov’s play “Kolya against everyone”." Semiotic studies 1, no. 4 (April 1, 2022): 46–51. http://dx.doi.org/10.18287/2782-2966-2021-1-4-46-51.

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The article demonstrates the performative features of modern monodramatic plays. Moreover, the main definitions of performative and features of performative texts are provided in the present article. The features of the poetics of modern monodrama, which determine its performative potential, are discussed. The purpose of the article is to show, using the example of the analysis of S. Davydovs monodrama, how performatization at various levels of text organization makes it possible to enhance the impact of a dramatic statement on the reader / viewer. The theoretical and methodological basis of the study comprised the works of N. A. Ageeva, Yu. B. Gryaznova, N. N. Evreinov, S. P. Lavlinsky, A. M. Pavlov, A. V. Pokalo. As a result of the analysis carried out, the performative features of the play Kolya against everyone are revealed practically at all levels of its artistic structure (paratext, system of characters, speech organization, plot situation and dramatic conflict). The author comes to the conclusions that the performative in the play helps to build constant communication between the subject of action and the recipient and also initiates the process of continuous moral and ethical self-identification, which occurs both at the level of the hero / protagonist, who, through his monologue, evaluates his life from the outside (extrinsically), and on the level of the recipient, who correlates his personal experience with the experience of the hero/ protagonist.

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32

Litwińska-Rączka, Katarzyna. "Jacob Levy Moreno’s Psychodrama As a Work Technique For Treating Patients in Group and Individual Psychotherapy." Current Problems of Psychiatry 19, no. 4 (December 1, 2018): 248–59. http://dx.doi.org/10.2478/cpp-2018-0019.

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Abstract Introduction. The basic purpose of this article is to present Jacob Levy Moreno’s psychodrama method as the psychotherapeutic technique useful in work with patients during individual and group psychotherapy. Material and Method: The author presents the analysis of case studies of patients treated in individual and group psychotherapy. He instances the examples of psychodramatic work on the stage as well as monodramatic and reports their importance in the process of patient psychotherapy. He discusses the effects of these act ivities in the context of changes in the emotional and interpersonal functioning of patients. Results: The given examples of monodrama and psychodramatic works illustrate the mechanisms of the changes offered by the method, e.g. insight, abreaction, acceptance of internal impulses, confrontation with the feelings of other people, training of alternative behaviors. In the article one can follow each subsequent step of analyzing intrapsychic conflicts of patients, which, thanks to the play on the stage, can be named and experienced by them. Conclusions: Psychodrama, used in the psychotherapeutic work of the group and in individual work with the patient (in the form of a monodrama), gives great opportunities to broaden the insight of the patient into very complicated internal mechanisms of conflicts and deficits. Psychotherapist - leader encourages patients to be creative and to spontaneous development of their blocked personality elements. The specificity of psychodrama is a relatively quick resolution of many years of ongoing conflict and permanent reparation of traumatic experiences, even from early childhood.

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33

Peretokina, Yuliya R. "Implementation of Instrumental Theatre Principles in Yuri Kasparov’s Opera-Monodrama “Nevermore!”." Journal of Siberian Federal University. Humanities & Social Sciences 8, no. 3 (March 2015): 429–36. http://dx.doi.org/10.17516/1997-1370-2015-8-3-429-436.

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34

Bortnik, Zhanna. "Monodrama as an Object of Theoretical and Critical Reflection: History Research." Pitannâ lìteraturoznavstva 91 (November 28, 2015): 123–36. http://dx.doi.org/10.31861/pytlit2015.91.123.

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35

Placanica, Francesca. "The Unsung One: The Performer’s Voice in Twentieth-century Musical Monodrama." Journal of Musicological Research 37, no. 2 (April 3, 2018): 119–40. http://dx.doi.org/10.1080/01411896.2017.1381522.

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36

Alkhayal, Ieman Abdulrahman. "Monodrama and Self- Reconstruction: Exploration of Form in Selected Arab Plays." World Journal of English Language 12, no. 7 (December 12, 2022): 303. http://dx.doi.org/10.5430/wjel.v12n7p303.

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This research attempts to explore the importance of monodrama as an extended monologue that opens a discovery journey of a man’s solitary existence in the twenty-first century. The form offers subsequent polyvocal variations, which explores a set of questions inherent in estrangement, isolationism, and failure to articulate one’s thoughts. Hence, those themes are usually projected in, seemingly, fragmented forms. Dramatic episodes characterized by fragmentation, yet ironically laden with symbolic meanings, draw on mythical, historical and imaginary figures. The resulting combination demonstrates more than just a private experience, but a universal dilemma of alienation and confusion. Inspired by Hamlet’s debate of man’s inner struggle between “What the flesh is heir to” and “of what we suffer” internally, the paper attempts to investigate the selected Arab dramatist’s use of monodrama. The inner struggle in each monologue resembles core thematic trends, which extend to the twenty-first century, performed by actors who open a series of multi-roles that reflect on life, history, culture and other identity factors. Therefore, the paper will be paying extra attention to the weaving of multi-voices and consciousness within a monologue of a single character that embodies all. The main goal is to convey an internal conflict, or a journey to self-discovery, representing the ‘everyman’ reflection on his use of theatrical devices. By intermixing reality and the subconscious, the performer and the audience become pulled into inner realms of the unconscious, giving self- evaluation a more interesting dimension. This will further help reveal the monologue’s significance in treating psychological and social complexities through a concentrated dose of self-reflection in a dream-like framework.

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Sales, Paulo Alberto da Silva. "Poesia por outros meios: a prática citacional em Adília Lopes e Carlito Azevedo." Revista Texto Poético 17, no. 32 (February 14, 2021): 37–66. http://dx.doi.org/10.25094/rtp.2021n32a747.

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Desenvolve-se uma leitura comparativa de alguns poemas da poeta portuguesa Adília Lopes e do poeta brasileiro Carlito Azevedo, na qual se evidencia uma poética citacional, híbrida e não original. Ambos possuem poemas que se servem de intertextos diversos, que vão desde citações de nomes e de apropriação de discursos à criação de hipertextos paródicos e em pastiche. Utiliza-se como corpus as obras Manhã (2015), Bandolim (2016), Estar em Casa (2018) e Dias e Dias (2020) de Adília Lopes, bem como Monodrama (2009) e Livro das postagens (2016) de Carlito Azevedo.

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Shapovalova, Liudmyla, Іryna Romaniuk, Marianna Chernavska, and Svitlana Shchelkanova. "Early (Avant-garde) Symphonies by Valentin Silvestrov As a Sound Universe." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 329–43. http://dx.doi.org/10.24193/subbmusica.2021.1.21.

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"In the article under consideration are the ways of symphony genre transformation in the early works of Valentin Silvestrov (Ukraine). For the first time, the First, Second, Third, and Fourth symphonies by the genius composers of the 20th century are analyzed as a certain stylistic system. These compositions are endowed with the features of avant-garde poetics, and as a subject of musicological reflection, they are associated with a rethinking of the semantic paradigm of the genre. V. Silvestrov's early symphonies stand out from the classical practice of European symphonies. Scientific awareness of their phenomenal nature necessitated a methodological choice aimed at the most accurate identification of the philosophical concept of the new sound universum of V. Silvestrov's music. Deep correlation of the image of a human being as a factor of the symphony poetics (the influence of philosophical concepts of human ontology in the 20th century with the transformation of the genre canon) is considered. This refers to the nonmusical dimension of the genre semantics. The study of V. Silvestrov's early symphonies reveal a new philosophy of music through gradual movement – modulation: from the neo-baroque First Symphony and ""cosmic pastorals"" Musica Mundana of the Second Symphony through the history anthropologisation in the Third Symphony ""Eschatology"" to the monodrama Musica Humana in the Fourth Symphony. The dichotomy of Musica Mundana – Musica Humana is not accidental: in V. Silvestrov's creative method, remains relevant, which is confirmed by the dramaturgy of his latest work – the Ninth symphony (2019). Keywords: V. Silvestrov's early symphonies, evolution of style, worldview, Musica Mundana, monodrama. "

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Silvestre, Osvaldo. "A poesia e a condição pós-média. O caso de "Monodrama", de Carlito Azevedo." Revista Texto Poético 13, no. 23 (August 25, 2017): 448. http://dx.doi.org/10.25094/rtp.2017n23a447.

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O ensaio propõe-se ler Monodrama (2009), de Carlito Azevedo, como uma ocorrência da condição pós-média na poesia contemporânea, no sentido de que se trata de uma obra na qual toda uma tópica da arqueologia e ontologia da imagem precede e sustenta o confronto com o mundo – o mundo histórico e político, que é, ao mesmo tempo, o mundo da imagem técnica. Por seu turno, o verso perde a consistência da tradição moderna de concentração sobre o meio, à maneira do João Cabral de A educação pela pedra, quer por saturação imagética e mediática, quer por contaminação pela prosa, no poema em prosa.---DOI: http://dx.doi.org/10.25094/rtp.2017n23a447

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Strąk, Magdalena. "Spotkania z przeszłością w Ostatniej taśmie Samuela Becketta i Uchu Igielnym Wiesława Myśliwskiego." Przegląd Humanistyczny, no. 64/4 (April 20, 2021): 60–72. http://dx.doi.org/10.31338/2657-599x.ph.2020-4.4.

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The aim of the study is to compare Samuel Beckett’s monodrama Krapp’s Last Tape (1958) and Wiesław Myśliwski’s novel Ucho Igielne (2018) in the context of the construction of time, which, despite the genre and content differences between those literary works, is parallel. The characters are returning to the past by reconstructing the figure of their younger selves and entering into a specific dialogue with them. The relationship between the past and the present is interpreted in the context of Paul Ricoeur’s concept of narrative identity. Each of the works is an unusual study of the old age and the structure of human memory.

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Kopciński, Jacek. "Faust/yna. „W promieniach” Artura Pałygi." Załącznik Kulturoznawczy, no. 4 (2017): 265–92. http://dx.doi.org/10.21697/zk.2017.4.12.

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In this essay, author deals with the interpretation of a very original, new monodrama by Artur Pałyga, entitled In Radiance (2016), whose heroine is Maria Skłodowska-Curie. The author is interested in a poetic and performative dimension of Maria’s dozen monologues, which the author described as − completely unknown letters’ of the scientist. These monologues reveal the process of Maria’s spiritual development from the moment of attaining maturity, until her death due to excessive irradiation. Kopciński focuses on the aspects of Maria’s consciousness, which Pałyga has brought forth from the myth of Faust, which comprises the foundation of the scientific worldview. In this monodrama, Skłodowska-Curie is the Polish Faust, who is ready to break the moral rules and pay the price of her and others’ life for sheer possibility of revealing the mystery of the universe. Kopciński confronts this original literary image of a scientist with the history of her life and highlights the moments in her biography that can be read as an execution of the ‘Faustian bargain’. At the end of his work he compares the character of Skłodowska-Curie, who calls herself Faustina, with the figure of another, extraordinary woman who has also adopted this name − Maria Faustina Kowalska. The comparison of the scientist and the mystic woman allows us to see many similarities in the characters of both, their way of life and their relationships with other people, but also describe fundamental differences in the worldviews they represent. Finally, two Faustinas are two different symbols. The figure of a scientist symbolizes desire for intellectual control over the world, which is constantly changing like elements discovered by Maria Skłodowska. On the other hand, the figure of the mystic symbolizes desire for an inner union with loving God, which involves the sacrifice of one’s ‘self’ to gain eternal life of the immortal soul.

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Kopciński, Jacek. "Faust/ina. In Radiance by Artur Pałyga." Załącznik Kulturoznawczy ENGLISH EDITION, no. 1 (2019): 257–83. http://dx.doi.org/10.21697/zk.2019ee.01.14.

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In his essay, author deals with the interpretation of a very original, new monodrama by Artur Pałyga, entitled In Radiance (2016), whose heroine is Maria Skłodowska-Curie. The author is interested in a poetic and performative dimension of Maria’s dozen monologues, which the author described as completely unknown letters’ of the scientist. These monologues reveal the process of Maria’s spiritual development from the moment Faust/ina of attaining maturity, until her death due to excessive irradiation. Author focuses on the aspects of Maria’s consciousness that Pałyga has brought forth from the myth of Faust, which comprises the foundation of the scientific world-view. In this monodrama, Skłodowska-Curie is the Polish Faust who is ready to break the moral rules and pay the price of her and others’ life for sheer possibility of revealing the mystery of the universe. Kopciński confronts this original literary image of a scientist with the history of her life and highlights the moments in her biography that can be read as the execution of the ‘Faustian arrangement’. At the end of his work, he compares the character of Skłodowska-Curie, who calls herself Faustina, with the figure of another extraordinary woman who has also adopted this name − Maria Faustina Kowalska. The comparison of the scientist and the mystic woman allows us to see many similarities in the characters of both, their way of life and their relationships with other people, but it also describes fundamental differences in the world-views they represent. Finally, two Faustinas are two different symbols. The figure of the scientist symbolises desire for the intellectual control of the world, which constantly changes like elements discovered by Maria Skłodowska. On the other hand, the figure of the mysticist symbolises desire for an inner union with loving God, which involves the sacrifice of one’s ‘self’ to gain the eternal life of the immortal soul.

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PLACANICA, FRANCESCA. "Recital I (for Cathy):A Drama ‘Through the Voice’." Twentieth-Century Music 15, no. 3 (October 2018): 359–97. http://dx.doi.org/10.1017/s1478572217000317.

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AbstractWork on this article began as a contribution to a wider discussion of twentieth-century music theatre, and in particular a genre in the category of twentieth-century musical monodramas – one-act staged monologues with, or in music for, one performer.1My current research focuses on the genesis and performance tradition of works composed for solo female singer, and raises questions about the creative agency of the performer in the making of such works, reflecting on matters such as subjectivity, voice, and identity.2If this outlook may slightly drift from a conventional narrative springing from the composer's voice, a critical investigation of the collaborative process foregrounding the genealogy of some of these works is compelling, especially since every composer who embarked on this ‘genre’, or compositionaltopos, inflected it in idiosyncratic ways. In works such asErwartung,La Voix humaine,The Testament of Eve,Neither, andLa machine de l’être, the performative voice of the female soloist to whom the work was tailored became a generative element capable of shaping the formal, musical, and dramaturgical material.3Examination of selected case studies, focusing especially on the creative and performative processes surrounding these works, triggers an array of questions about gender politics. More importantly, transversal insight into the making of these works and their performativity reveals the interconnected nature of the two phases of creation and performance. In musical monodrama, more than in larger forms of music theatre, the two processes interweave and depend on each other; reconstructing the performative genealogy of the ‘work’ reveals an intrinsic impasse in the very notion of the musical ‘text’ associated exclusively with the compiled score and its literary sources.

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محمد, على أحمد أبو زید. "مونودراما المسرح السعودی الرؤیة وإشکالات الفن مسرح عبدالعزیز الصقعبی أنموذجًا Monodrama Saudi theater." مجــلة کلیة أصول الدین والدعوة 35, no. 1 (October 1, 2018): 514–69. http://dx.doi.org/10.21608/jfar.2018.16978.

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Skibska, Anna Maria. "The Walpurgis Night): A New Variation on the Theme of the Holocaust. Several Suggestions as for the Future Reception of the Film." Poznańskie Studia Slawistyczne, no. 12 (September 21, 2017): 283–97. http://dx.doi.org/10.14746/pss.2017.12.19.

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In the essay, I make an attempt to present several ways, in which the Western canon of literature, music, and cinema has influenced Noc Walpurgi. With regard to this, Marcin Bortkiewicz’s film turns out to be a work made of many citations, in Walter Benjamin’s terms, drawn extensively on Goethe’s Faust, Mann’s The Magic Mountain, Bulgakov’s The Master and Margarita, Wagner’s Ride of the Valkyries, and Puccini’s Turandot, and the film noir poetics elaborated in the 40s and 50s of the twentieth century. Based on Magdalena Gauer’s monodrama Diva, Noc Walpurgi illuminates in the highly expressionist manner an alienated, cynical, and despotic psyche of Nora Sadler, a great opera singer, who is tormented by the Holocaust past.

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Popczyk-Szczęsna, Beata Maria. "Monodramy biograficzne w najnowszym teatrze polskim – świadectwa i rekonstrukcje." Er(r)go. Teoria - Literatura - Kultura, no. 43 (December 30, 2021): 149–66. http://dx.doi.org/10.31261/errgo.10022.

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W nurcie współczesnych polskich spektakli biograficznych sporą grupę stanowią monodramy, inspirowane życiorysami słynnych osób. Jest to przejaw zainteresowania postaciami wyrazistymi, referencyjnymi – w przeciwieństwie do twórczości scenicznej końca XX wieku, z właściwą jej ekspansją bohaterów o nieukształtowanej bądź rozbitej osobowości. W artykule zanalizowane zostały monodramy-świadectwa i monodramy-rekonstrukcje. W pierwszym przypadku postać występuje jako medium nieobecnej rzeczywistości, świadcząc monologiem o sobie i o świecie zewnętrznym (to przykład tożsamości dialogowej). W drugiej odmianie monodramów dominuje ujęcie autotematyczne, co prowadzi do powstania sztuk meta-biograficznych (ukazana jest tożsamość performatywna, realizująca się w aktach kreacji własnego „ja”).

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Raulino, Renata Cristina Pereira. "Formas do esquecimento." Revista Entrecaminos 3, no. 1 (September 30, 2019): 88–94. http://dx.doi.org/10.11606/issn.2447-9748.v3i1p88-94.

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Nesta comunicação, apresentarei o meu projeto de pesquisa de doutorado, em que analisarei como o esquecimento mobiliza a escritura de textos literários latino-americanos contemporâneos, nos quais personagens com doença de Alzheimer são centrais para a escrita. O corpus inicial é o seguinte: Desarticulaciones (2010), de Sylvia Molloy; El eco de mi madre (2010), de Tamara Kamenzsain; En la laguna más profunda (2011), de Óscar Collazos; Diário da queda (2011), de Michel Laub; O lugar escuro: uma história de senilidade e loucura (2007), de Heloísa Seixas; e “H”, poema do livro Monodrama (2009), de Carlito Azevedo. Pretendo contribuir para as reflexões sobre a abordagem dos sintomas de uma enfermidade como material literário, elaboração tão em voga atualmente na literatura contemporânea e latino-americana.

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Dubrovina, Svetlana N. "Monodrama at the Theatre of Samuel Beckett and At the Theatre of the Absurd." Sibirskiy filologicheskiy zhurnal, no. 4 (December 1, 2010): 102–8. http://dx.doi.org/10.17223/18137083/33/14.

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Clifton, Keith. "Mots cachés: Autobiography in Cocteau's and Poulenc's La Voix humaine." Canadian University Music Review 22, no. 1 (March 4, 2013): 68–85. http://dx.doi.org/10.7202/1014499ar.

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Poulenc's Dialogues des Carmélites has been consistently identified as the summit of his operatic works. Such an assessment has assured that his final opera, La Voix humaine, based on Cocteau's monodrama, has been overlooked, the impetus for its composition inadequately defined. Musically, La Voix humaine employs a complex tonal language unprecedented in Poulenc's compositional arsenal. Rather than advancing the interpretation that Poulenc composed Voix out of loyalty to Cocteau, I propose that the opera represents his final attempt to come to terms with his homosexuality. Numerous references in correspondence expose the opera as a mirror of Poulenc's emotional life. Poulenc and Cocteau's employment of gay camp also informs the work and provides a glimpse into possible hidden meanings. A closer examination of this neglected work reveals new insights into Poulenc's troubled and elusive personality.

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HELMUTH, MARA. "Virtual musical performance and improvisation on Internet2." Organised Sound 10, no. 3 (November 29, 2005): 201–7. http://dx.doi.org/10.1017/s1355771805000944.

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Several projects involving audio and video transmission between the University of Cincinnati and other sites over the high bandwidth Internet2 have ranged from the simple transmission of video material, to more complex interactive improvisation. A performance of Clotho, the life of Camille Claudel, a musical monodrama collaboration, was streamed in September 2000 over Internet2 to a widely distributed audience. The second project involved my real-time contribution from Cincinnati to a performance happening at Yale University of The Ankle Diver, with music by Matthew Suttor. A network improvisation project with the Soundmesh (formerly Internet Sound Exchange) software resulted in a number of improvisations involving the University of Cincinnati, Columbia University, Yale University and the Fall Internet2 Meeting at the University of Southern California. High-quality audio and flexibility of sound sources and processing is a strength of these improvisations.

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