Relevant bibliographies by topics / Playwriting

Contents

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

Academic literature on the topic 'Playwriting'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 September 2024

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Journal articles on the topic "Playwriting"

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Chizhik, Alexander Williams. "Literacy for Playwriting or Playwriting for Literacy." Education and Urban Society 41, no. 3 (March 2009): 387–409. http://dx.doi.org/10.1177/0013124508327649.

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Thygesen, Mads. "Udvidelse af dramatikerens kampzone." Peripeti 19 (October 11, 2022): 152–59. http://dx.doi.org/10.7146/peri.v19isaernummer2.134033.

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The playwright’s expanded battlefieldThis essay examines some of the main ideas and visions that have formed the basis for the education of playwriting in Denmark. Thygesen describes the development of the national school of playwriting and shows how the curriculum and methodology relates to the expanded field of playwriting in Denmark and abroad.
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WHITEMORE, HUGH, and SIMON GRAY. "Playwriting dot com." Critical Quarterly 52, no. 1 (April 2010): 56–65. http://dx.doi.org/10.1111/j.1467-8705.2010.01923.x.

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Reynolds, Bianca. "Emergence Through Playwriting." Journal of Jungian Scholarly Studies 14 (June 11, 2019): 73–91. http://dx.doi.org/10.29173/jjs7s.

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Jungian artistic criticism is a thriving field of scholarship, with strong representation in the literature across numerous disciplines. However, there is relatively little Jungian representation in critical studies of dramatic writing. This essay adopts the dual perspectives of playwright and dramatic critic to argue for the utility of a Jungian theoretical framework for the creation and analysis of play texts. Such utility is demonstrated through analysis of a case study genre, termed the “contemporary family homecoming drama.” C. G. Jung’s theories of individuation and the psychological complex provide the theoretical framework for this discussion, along with a post-Jungian understanding of emergence theory. The central argument is substantiated via critical case studies of Tracy Letts’s August: Osage County and Eventide, an original play. This essay proposes a model for a Jungian playwriting methodology, transferable to other playwrights wishing to create drama within a Jungian framework.
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Monteleone, Pam. "New Playwriting Strategies: A Language-Based Approach to Playwriting (review)." Theatre Topics 14, no. 1 (2004): 375–76. http://dx.doi.org/10.1353/tt.2004.0007.

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Christophe, Nirav, and Janicke Branth. "Den nøgne skrift." Peripeti 4, no. 8 (June 8, 2021): 97–106. http://dx.doi.org/10.7146/peri.v4i8.110160.

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Player, Grace D. "Creating a Context for Girl of Color Ways of Knowing Through Feminist of Color Playwriting." LEARNing Landscapes 12, no. 1 (May 31, 2019): 223–38. http://dx.doi.org/10.36510/learnland.v12i1.989.

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This article investigates how playwriting served three middle school Black girls within a larger practitioner research study seeking to better understand the literate practices of girls of color. It delves into the ways that playwriting provided the girls in an afterschool writing club opportunities to explore both their knowledge and ways of knowing, rooted in their cultural, gendered, and racialized experiences, and, in turn, share these with others, within an academic setting. It points to the necessity for creating writing pedagogies that celebrate experiential, cultural, emotional, and relational knowledge, using playwriting as an example.
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Hrvatin, Varja. "New wave of playwriting." Maska 35, no. 200 (June 1, 2020): 53–67. http://dx.doi.org/10.1386/maska_00009_1.

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New Wave of Playwriting is a compilation of two editions of the theatre segment Teritorij teatra (The Territory of Theatre) that were broadcast on Radio Študent. In the play of the introductory drama-radio form of the dialogue between the young female playwright and the young male director, it enters the field of exploring the contemporary playwriting of the youngest generation and its current position. For the starting point of the topical-structural analysis of concrete plays, the author takes the call for the Slavko Grum Award for Young Playwright and dedicates her attention to its recipients up to the year 2018. As a counterpoint, she presents various educational, staging or publication initiatives that open the doors for young playwrights. Through a short review of playwrights and their texts, the contribution offers an insight into the new generation of contemporary playwriting; by treating the topics, styles and forms that are popular among playwrights, the article aims to close the gap in the area of reflective analysis.
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Mizusawa, Ken. "Drama-Based Playwriting: Teaching Playwriting Through Drama in the English Literature Classroom." Teaching Artist Journal 17, no. 1-2 (April 3, 2019): 3–10. http://dx.doi.org/10.1080/15411796.2019.1595968.

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Ljubić, Lucija, and Martina Petranović. "Poetic Tendencies in Contemporary Croatian Playwriting." Amfiteater 9, no. 2021-2 (June 30, 2022): 94–112. http://dx.doi.org/10.51937/amfiteater-2022-1/94-112.

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The paper offers an overview of the most prominent poetic tendencies in contemporary Croatian playwriting after the year 2000. Focusing on several well-known Croatian playwrights (such as Mate Matišić, Davor Špišić, Ivan Vidić, Nina Mitrović, Elvis Bošnjak, Dubravko Mihanović, Tomislav Zajec, Ivana Sajko, Tena Štivičić, Ivor Martinić, Olja Lozica …) whose plays have been staged, published, studied and/or rewarded over the past two decades in both Croatia and abroad, the paper looks into the features of the subject matter (local or global, public or intimate, popular or provocative concerns), the formal and generic qualities (dramatic structure, narration, poetisation, exploration of the limits of playwriting), the representation of cultural identities (personal and collective), the interest in mass and popular culture, the characteristics of dramatic discourse and language, the relation towards social engagement or criticism, and the effort to appeal to targeted social groups or types of audiences. The paper explores the differences and similarities between the playwriting of the 1990s and playwriting after 2000.
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Dissertations / Theses on the topic "Playwriting"

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Holt, Gleason. "Digging Into Playwriting." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3406.

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The intent of this thesis was to write an original play and detail the writing process. Themes dealt with in Jane (or, Dug In) are family, coping with grief, survivor’s guilt, and exploration (both literal and personal). In addition to the full script, this thesis explores the inspirations for the play and its title. The play’s genre is analyzed, and reasoning is given for this selection. Included are omitted scenes from the latest draft to offer additional insight into the playwright’s previous versions. A reading of the third draft was presented and detailed in this thesis. A section about future scenes and potential projects involving this script are examined.
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Douthit, Lue Morgan 1957. "The teaching of playwriting: as observed in fourteen twentieth-century american playwriting books." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/558141.

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Bush, Sophie. "Floating identities : Timberlake Wertenbaker's playwriting." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574606.

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This thesis is a study of the contemporary playwright Timberlake Wertenbaker. Its principal source of research has been Wertenbaker's Archive, held by the British Library. This resource has enabled me to compare Wertenbaker's unpublished and unfinished plays with those for which she is better known, thus building a picture of her playwriting career as a developing process. I address ideas of identity formation and resistance to the imposition of identity, as a theme across Wertenbaker's creative works and a feature of her own life. Covering the whole span of Wertenbaker's writing for the stage to date (1976 to 2009), I discuss her plays chronologically, in order to foreground the development of her career. I offer thematic links across these groupings, which are designed to retain a sense of fluidity. I propose that Wertenbaker's diverse writings of the late 1970s developed into a more coherent, feminism-informed body of plays in the early 1980s. Always keen to avoid the labelling of her work, Wertenbaker seems to have sought to expand, or universalise, these concerns, producing her most popular and well-known works of the late 1980s. These plays, which focus on language, make parallels between the oppression of women and the oppression of whole nations or cultural groups, and move her work along a continuum from issues of gender to those of culture and nationhood. These latter concerns become a recurrent trope in her plays of the 1990s and the turn of the millennium, and are intricately linked with concepts of genealogical reproduction on both a global and a personal scale. Whilst my model divides Wertenbaker's work into sections that do not exist in reality, I imbue this structure with the same sense of mutability and fluidity that, I argue, is crucial to the plays.
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Hamilton, Morven. "Negotiating identity in contemporary playwriting." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/5937/.

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In this dissertation, I discuss the process of playwriting in Scottish dialect: why Scottish writers choose not to write in Standard English; how and why they choose their specific dialect; what problems lie in the writing of dialect plays; and what problems may arise in performance and production. Following on from that, I also investigate why Scottish playwrights often find themselves excluded from English theatres - particularly from the London stage - and what cultural stereotypes seem to fuel this problem. I have examined Scottish dialect plays and playwrights’ accounts from the 1940s onwards, as well as considering the critical response to these plays. In the light of this contextual background, I also analyse my own personal experience as a playwright over the course of my PhD by Practice at the University of York, and my experience as a Glaswegian playwright at an English university in a traditional English town. My dissertation begins by discussing why Scottish playwrights choose Scottish dialects, focussing in particular on the idea of language survival and resistance to English hegemony. I examine the merits and effects of urban and rural dialects, investigating why rural dialects are now largely neglected and why urban dialects are vital to representations of class and city life in modern Scotland. I scrutinise the problems of writing dialect, and the lack of official spelling and prevalence of profanity in urban dialects, which present particular problems. Audience reception will also be considered, examining the idea that non-Scottish audiences struggle to understand the dialect, and subsequently struggle to understand its humour. Finally, I consider audience responses towards Scottish dialect.
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Gardiner, Paul Dominic. "Teaching playwriting: dramaturgy, creativity, and agency." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12069.

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This thesis reports on the findings of my study into playwriting pedagogy in NSW secondary schools. Utilising a comparative case study approach, the phenomenological study aimed to gather data on the experience of teachers and students engaged in playwriting pedagogy for the New South Wales Higher School Certificate Drama examination. The research, initially focusing on the impact of performance theory on the teaching and learning experience, revealed the need to attend not only to dramaturgy, but also to the related concepts of agency, creativity, engagement and the teacher-student dynamic. The research findings reflect a reluctance to engage in theory based pedagogy and the teachers adopted what I have called the Noble Savage approach. The teachers, seeing themselves as facilitators rather than teachers, expressed a reluctance to engage in specific teaching in an attempt to protect the students’ independence and original creative voice. The experience of pedagogy observed also revealed that playwriting provided students with an opportunity to demonstrate and develop skills in agency, encouraging them to think deeply and ‘imagine new worlds’ (Freire, 1974). It also provided the students with an opportunity to engage in a creative and independent writing task unique in these students’ school experience. However, my study also observed that the benefits of agency and creativity were not supported by the Noble Savage approach. This thesis argues that current playwriting pedagogy is adversely affected by a conception of creativity that is not supported by some creativity theory. Examining the experiences through Csikszentmihalyi’s (2008) concept of flow, this research identified the importance of skill development in creative tasks and the associated need for rigorous teaching and learning to maintain engagement and skill development. The research also found that despite the professed Noble Savage approach, the teachers were dissatisfied with their practice and upon reflection considered a more structured and theory informed approach would have been more effective. The thesis concludes that greater engagement with theory and the semiotics of theatre will not only improve student proficiency in playwriting practice, but will improve the benefits to students’ agency, creativity and engagement and improve the students’ and teachers’ experience of playwriting pedagogy.
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Mulinder, Guy. "Master of Fine Arts Thesis in Playwriting." Thesis, University of Canterbury. Humanities, 2011. http://hdl.handle.net/10092/5236.

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Alied, Amani. "A desacralisation of violence in modern British playwriting." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/a-desacralisation-of-violence-in-modern-british-playwriting(db408601-4630-46ea-b825-5cf0744e6233).html.

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My thesis journey was initially motivated by an interest in the individual’s search for God, the self and the other (neighbour, men/women and enemy) as represented in the play texts. This call for a personal relationship with the ‘other’ highlights the individual’s feelings of unease and strangeness at a time when, one might argue, the majority belittles the role of religion, in support of scientific discoveries and human rights. Here, the French philosopher René Girard - whose anthropological and scientific interest in violence, religion and human culture has shaped my research - argues that the progress of humankind would not have become a reality without what he terms sacrifice. Here, I should confirm that the main influence on the early steps of finding my research topic were Peter Shaffer, Slavoj Žižek, Julia Kristeva and Mikhail Bakhtin rather than Rene Girard. This thesis explores several interconnected relationships, the most important of which is between humour and violence or forms of ‘sacrifice’ in the plays of six British playwrights – Peter Barnes and Peter Shaffer, Howard Barker and Sarah Kane as well as Caryl Churchill and David Rudkin. It is this strange relationship which leads me later on to uncover and explore the representations of the stranger, the victim/iser and the foreigner in their works. The return of the stranger – the dead, the ashes of victims of extreme violence, the ghosts, the prisoners and the children - is inseparable from the search for individuality in a world ruled by the gods of war, money and dark humour. My research findings are viewed in the light of two narratives: the first is to do with the upper world and the second is to do with the lower as defined by Bakhtin’s idea of the carnival and the culture of folk humour in the Middle Ages. The upper is serious, official, exclusive and authoritative whereas the second is festive, comic, mythical and popular. It is hard to describe the relationship between these narratives as simply oppositional (some say iconoclastic) because they are coexistent and rely on one another. At this point, the different professional and ideological positions of the playwrights are important aspects in arriving at an understanding of the ways they collapse the borders between humour and terror, the banquet and the battle, carnivals and trials, the parade and economic exploitation, clownery and politics. Though these playwrights are not preachers or reformers, they challenge our easy laughter and our role as we witness the risen from the dead, those in the flames or in the future signalling to us to halt our participation and face responsibility for the victims.
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Abelli, Björn. "On Stage! : Playwriting, Directing and Enacting the Informing Processes." Doctoral thesis, Mälardalen University, School of Business, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-252.

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Within the discipline of information systems sometimes the conception of the main object is that the information system must be computer based. An example of an information system that is non-computer based is the scenic theatre performance. Input is the message or knowledge the participants of the theatre production want to pass over to the audience; output is the information and experiences the performance in itself mediates to the audience. This has been produced through a system development process; although the developers not always have been aware about what development model has been used.

The dissertation combines some of the concepts found in theatre production with traditional system development concepts, and hence introduces new perspectives into the area of information systems. Some of the main findings in the study of theatre productions were the triplicity of a theatre production as a development process, an information system and an organization at the same time; the integrated relations of context, developers and users, which leads to spontaneous changes and overlaps of development roles; and the narrative and dramaturgical approach in the practical use of methods and techniques.

These aspects should be useful also in development of other types of information systems, whether computer based or using other information technologies. The triplicity gives arguments to redefine each of these concepts.

The generalizability of this approach has been validated through a second study, at a folk high school, which showed that models and concepts from theatre productions are possible to generalize to other information system areas than theatre, and that the borders of the organization coincides with the borders of the information system. Especially temporary organizations must be seen as ongoing, continuous development processes.

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Abelli, Björn. "On stage! : playwriting, directing and enacting the informing processes /." Västerås : School of Business, Mälardalen University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-252.

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Kelly, Catherine M. "The internal exile : contemporary Irish playwriting and theatrical production." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393142.

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In recent years Ireland, North and South, has undergone a period of rapid transition. Social and economic advancements in the South and political developments in the North have brought benefits, but have also created for some a sense of confusion and disorientation. Many have become caught between the residual problems of the past and the impact of the new. In the ongoing process of redefining boundaries and attempting to build a more inclusive society, it is important to be aware of the dislocation which exists among groups and individuals in the current cultural climate. My experience of these changing times has been, broadly speaking, as a female Catholic from a middle-class, nationalist background. It is from this perspective that I have explored a variety of political, religious and gender issues, related to the overriding theme of the internal exile in contemporary Irish theatre. Specific chapters address particular concerns. Chapter one provides a historical and cultural context which seeks to place the theme within the macrocosm of a society undergoing change, in addition to outlining the way in which it is represented in and affected by contemporary Irish drama. Chapter two is entitled 'States of mind and the lyricism of theatrical conventions'. It explores a selection of post-sixties plays and identifies a number of different styles of theatre which are being practised in Ireland at the present time. Chapter three discusses the politics of spirituality in relation to Brian Friel's Dancing at Lughnasa. Chapter four focuses on three plays by Marina Carr and considers the role of women. Chapter five looks at politics and gender in two plays about Oscar Wilde; Saint Oscar by Terry Eagleton and The Secret Fall of Constance Wilde by Thomas Kilroy. Chapter six involves a consideration of the political situation in Northern Ireland in respect of the peace process and post-cease-fire plays by a number of playwrights such as Gary Mitchell, Declan Gorman and Michael Harding.
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Books on the topic "Playwriting"

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Dunn, Carolyn M., Eric Micha Holmes, and Les Hunter. Decentered Playwriting. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003270140.

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Haft Bucs, Hillary, and Charissa Menefee. Embodied Playwriting. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003243014.

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Jensen, Julie. Playwriting, brief & brilliant. Hanover, N.H: Smith and Kraus, 2007.

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1948-, Edgar David, ed. Playwrights on playwriting. London: Faber, 1999.

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Faber, Larisa. On playwriting (mostly). Mersch: Centre National de Littérature, 2021.

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Greig, Noël. Playwriting: A practical guide. New York: Routledge, 2004.

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Cassady, Marsh. Playwriting step by step. San Jose, Calif: Resource Publications, 1992.

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Greig, Noël. Playwriting: A practical guide. London: Routledge, 2005.

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Catron, Louis E. The elements of playwriting. New York: Macmillan, 1993.

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Catron, Louis E. The elements of playwriting. Prospect Heights, Ill: Waveland Press, 1993.

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Book chapters on the topic "Playwriting"

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Rattray, Laura. "Playwriting." In Edith Wharton and Genre, 55–86. London: Palgrave Macmillan UK, 2020. http://dx.doi.org/10.1057/978-1-349-59557-0_3.

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Peters, Sarah, and David Burton. "Playwriting." In Verbatim Theatre Methodologies for Community Engaged Practice, 113–41. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003155706-6.

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Kaye, David. "Active Group Playwriting." In Embodied Playwriting, 91–103. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003243014-9.

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Hunter, Les. "Contemporary playwriting pedagogies." In Teaching Critical Performance Theory, 66–78. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367809966-7.

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Cox, John D. "Playwriting." In The Cambridge Guide to the Worlds of Shakespeare, 117–22. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316137062.017.

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"Playwriting." In The Art of Writing for the Theatre. Methuen Drama, 2021. http://dx.doi.org/10.5040/9781350155619.0007.

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"Playwriting." In Vanishing Acts, 57–142. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300145595-005.

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"Exercise 23 Celebrating the name." In Playwriting, 37. Routledge, 2004. http://dx.doi.org/10.4324/9780203334973-10.

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"FINDING THE STORY Exercise 24 Everyday stories." In Playwriting, 38–44. Routledge, 2004. http://dx.doi.org/10.4324/9780203334973-11.

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"Exercise 29 Place-association dialogue." In Playwriting, 45–55. Routledge, 2004. http://dx.doi.org/10.4324/9780203334973-12.

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Conference papers on the topic "Playwriting"

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YuXia, Fan. "On the Playwriting of Arthur Miller." In 2015 International Conference on Social Science and Technology Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icsste-15.2015.145.

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Grigis, Paolo, and Antonella De Angeli. "Playwriting with Large Language Models: Perceived Features, Interaction Strategies and Outcomes." In AVI 2024: International Conference on Advanced Visual Interfaces 2024. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3656650.3656688.

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"The Influence of Eugene O’Neill’s Tragedies on Cao Yu’s Playwritings." In 2020 International Conference on Social Sciences and Social Phenomena. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0001168.

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