Academic literature on the topic 'Race relations – drama'
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Journal articles on the topic "Race relations – drama"
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Greenfield, Cathy, and Peter Williams. "The Sporting Gamble: Media Sport, Drama and Politics." Media International Australia 97, no. 1 (November 2000): 47–58. http://dx.doi.org/10.1177/1329878x0009700108.
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Sport is historically developed, institutionally organised, politically charged and culturally communicated. Sport is also about time and space and bodies. Media sport — configured as drama — routinely presents audiences with particular, persuasive ways of understanding these materialities, in ways that work over and consolidate social relations of power between genders, nationalities, ‘races’. We note some pre-Sydney 2000 media examples which make their own arguments about the Olympics, and then some of the varied media presentation and reportage of Sydney 2000 in order to consider this media event as part of ongoing gender, ‘race’ and national politics.
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Murphy, Caryn. "Network television writers and the ‘race problems’ of 1968." Journal of Screenwriting 10, no. 3 (September 1, 2019): 307–21. http://dx.doi.org/10.1386/josc_00006_1.
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This article examines the development of television scripts in the crime drama genre within the context of US commercial broadcasting in the network era. In 1968, public discourse around race relations, civil rights and violence reached a height following the assassinations of Martin Luther King, Jr and Robert F. Kennedy, and the release of a government study on urban uprisings by the National Advisory Commission on Civil Disorders. Ironside (1967‐75, NBC) and N.Y.P.D. (1967‐69, ABC) are two crime dramas that drew on recent events related to black militants and white supremacy in order to appeal to viewers with socially relevant entertainment during this time. The archival records of screenwriters Sy Salkowitz and Lonne Elder make it possible to trace the development of one episode from each series over the course of multiple drafts. This analysis of the script development process explores the relationship between public discourse, industrial context, commercial agendas and creative priorities. Ironside and N.Y.P.D. are both crime dramas, but an examination of both series yields points of divergence which help to illustrate the norms of the network system in terms of act structure, genre tropes, and the oversight of standards and practices.
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Seniz Coskun Adiguzel, Dr Saliha. "Love, Honor and Race in Don Alvaro or the Force of Fate by Duque De Rivas." International Journal of Arts, Humanities & Social Science 03, no. 10 (October 11, 2022): 52–59. http://dx.doi.org/10.56734/ijahss.v3n10a6.
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This article aims to analyze the themes of love, honor and race in the Spanish romantic drama Don Alvaro o la fuerza del sino (Don Alvaro or The Force of Fate) written by Duque de Rivas in 1835. First, a general overview on historical and philosophical background of Europe is provided to help the understanding of the arrival of the Romantic Movement in Spain and the main aspects thereof. Then, a brief information is given about the author and finally, the work is analyzed on the basis of the three abovementioned themes and the results are specified. The analysis is based on the main characteristics of the Romantic Movement and its reflections on the Spanish society as well as on human relations. The text is woven through the love story of the main character, which is a romantic hero trying to integrate into the Spanish society with his unknown origins. The drama is considered as the triumph of romanticism in Spain and is significant in terms of providing insights into the 19th century Spanish society.
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Aristama, Dio, Rokhmat Basuki, and Bambang Djunaidi. "PENGGUNAAN PERANTI KOHESI DAN KOHERENSI PADA NASKAH DRAMA KARANGAN SISWA KELAS VIII SMPN 7 KOTA BENGKULU." Jurnal Ilmiah KORPUS 2, no. 1 (August 6, 2018): 8–21. http://dx.doi.org/10.33369/jik.v2i1.5544.
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The purpose of this study is to see and describe how the use of cohesion and coherency tools in the drama text of students of class VIII SMPN 7 Kota Bengkulu. The method used in this research is descriptive qualitative method. The data in this research is in the form of drama written by students. The source of this research data is the inter-faith dialogue in the student's drama script. Technique of collecting data using documentation method. Data analysis technique in this research is done through steps. Test the validity of the data used is credibility test done by increasing persistence, supervisors during the process of guidance takes place, and discussion with colleagues. The result of the research is found that the cohesion device contained in the student's drama script is pronoun (pronoun) consisting of (1) the first single person pronoun who is saya, and Aku (2) the first person plural pronomina kami, and kita, (3) The second individual pronoun is kamu, and kau (4) the pronoun of your second plural, (5) the singular third person pronoun dia, (6) the third person's plural pronouns they are, (7) the guidance pronoun there, that, and this, (8) The pronouns are mu, ku, and dia. (9) Substitution devices are so, that, that, and the same. (10) The ellipsis device contains the removed part. (11) The conjunction device consists of the adversative conjunction that is but, the casual conjunction that is because, the coordinating conjunction adalah and / or, the subordinate conjunction is that, if, the correlative conjunction is either / or, the temporal conjunction is before. (12) Lexical devices consist of repetition (repetition) following the race, synonyms or maternal / parent, antonym or friendlike and hostile counterparts. There are ten types of means of coherence in the student's drama text are: (1) Coherence means of addition, and, also, (2) Coherence means of repetition or repetition of speech, (3) Coherence means of contrast or contradiction ie but (4) Coherence means (5) Coherence means the result or conclusion is so, (7) Synonym or synonyms coefficient of the word mother / parent, (8) Coherence of suppression means that even , (9) The means of coherence of causal relations is due, and (10) The time coherence means is that time. With the intensity of the use of means of coherence different from each other.Keywords: cohesion, coherence, drama by student essay
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Cooper, Barbara T. "Performing Race Relations in a French Children’s Drama: Subjugation and Control of the Body in Vanderburch’s Séliko, ou Le Petit Nègre (1824)." CLA Journal 60, no. 3 (2017): 363–76. http://dx.doi.org/10.1353/caj.2017.0005.
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Bintang Ronaldo Aruan and Meylin Agnes Debora Siburian. "Moral in Character’s Fantastic Beasts and Where to Find Them." Talenta Conference Series: Local Wisdom, Social, and Arts (LWSA) 3, no. 3 (October 15, 2020): 148–52. http://dx.doi.org/10.32734/lwsa.v3i2.877.
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This research deals with moral values in making a research on the Fantastic Beasts and Where to Find Them because there are several moral values that can be found with descriptive qualitative methods. Moral value is an important element that must be owned by society in the form of ethics or rules norms that exist in the environment. Relationships Interaction in society can describe the diversity of behavior that is owned. The good and bad nature of one's behavior is included moral in main character. Moral is a reflection of human behavior in the life of society and its surroundings. If moral values are not applied in themselves, then humans will live wild and not directed. When the existing ethics and rules are not applied in the environment, there will be bad morality, using trust, spreading hatred, becoming desperate. The essence of this picture is the core of the problem of some characters in the drama Fantastic Beasts and Where to Find Them. Newt Scamander the main character who teaches some good moral, is responsible, has patience, wants to help friends who need and protect beasts that are almost extinct because of human greed. Moral analysis through several main characters and characters concern with the behavior and nature of the human person as described in normative measures. This measure refers to the right and wrong and the good and bad of human behavior, the relationship of race one to another race or human relations with animals on earth. Moral is a reflection of human behavior in community life and its surroundings.
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D'Cruz, Glenn. "‘Class’ and Political Theatre: the Case of Melbourne Workers Theatre." New Theatre Quarterly 21, no. 3 (July 18, 2005): 207–17. http://dx.doi.org/10.1017/s0266464x05000114.
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Traditionally, class has been an important category of identity in discussions of political theatre. However, in recent years the concept has fallen out of favour, partly because of changes in the forces and relations of capitalist production. The conventional Marxist use of the term, which defined an individual's class position in relation to the position they occupied in the capitalist production process, seemed anachronistic in an era of globalization. Moreover, the rise of identity politics, queer theory, feminism, and post-colonialism have proffered alternative categories of identity that have displaced class as the primary marker of self. Glenn D'Cruz reconsiders the role of class in the cultural life of Australia by examining the recent work of Melbourne Workers Theatre, a theatre company devoted to promoting class-consciousness, in relation to John Frow's more recent re-conceptualization of class. He looks specifically at two of the company's plays, the award-winning Who's Afraid of the Working Class? and The Waiting Room, with reference to Frow's work on class, arguing that these productions articulate a more complex and sophisticated understanding of class and its relation to politics of race and gender today. Glenn D'Cruz teaches drama and cultural studies at Deakin University, Australia.
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Scammell, G. V. "The Columbian Legacy." Itinerario 17, no. 1 (March 1993): 21–44. http://dx.doi.org/10.1017/s0165115300003673.
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The quincentenary of Columbus' arrival in the New World is now safely past. The spate of timely studies, instant media wisdom, abysmal films, ecological outrage, mediocre drama and politically correct comment is subsiding. Yet ironically enough, despite such outpourings we know little more about the man himself than was known a century ago. His legacy is another matter. The successful crossing of the Atlantic, followed by European conquest and settlement of part of the Americas were eventually to affect most of mankind, though not always in such a manner as publicists in early-modern Castile predicted or as has been alleged by Columbus' modern detractors. But before we turn to this vast and emotive subject it should be emphasized that the Admiral's achievements in a brief, enigmatic and turbulent public career were of an astounding and probably unparallelled order. A man of foreign and obscure birth, he managed to secure employment in race and caste-ridden Spain, and from such unpropitious beginnings went on to prove himself a superlative seaman. He inspired and accomplished four voyages which revealed to Europeans a huge continent of which they were unaware. He discovered more unknown territory than any other navigator. He achieved some understanding of the true size of the Atlantic – and just how much of the globe was covered by water came as a horrible shock to his contemporaries – and, uniquely, he set in motion a staggering sequence of exploration and conquest.
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Falski, Maciej. "Semiotics of the “third force”." Narodna umjetnost 56, no. 1 (July 2, 2019): 27–40. http://dx.doi.org/10.15176/vol56no102.
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The present paper analyzes the media representation of the idea of the “third force” in politics. The research focuses on how the notion is being staged and visualized in order to create the impression of a new and fresh agent in the race for power. The case of MOST, a political coalition which gained importance in the 2015 Croatian parliamentary election, seems particularly important and adequate for the purpose. I do not discuss programs, political aims or visions of the main political parties. Rather, I propose a semiotic analysis of public communication. Attention will be paid to performative aspects of television broadcasts, organization of the space where negotiations were held, visual relations between political actors. The broadcasts, and the broadly taken space of public contact, will be treated as a stage, and actions taking place on such a stage as a political drama, with a screenplay which may be, but is not necessarily, conscious and planned. When seen from this perspective, the focus of interest does not lie on the purposeful layout of seating in a meeting or a public communique, but on unconscious cultural patterns which have a great impact on our decisions, choices, and perceptions. Ultimately, the electoral success of MOST was related not only to its program, but also–or maybe mostly – to its performative policy and its consistent positioning as a new actor in the political field.
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Hundorova, Tamara. "ROMA AS A MATRIX OF THE ‘OTHER’IN THE PROJECTION OF ORIENTALISM, RACE, AND NATION IN THE WORKS BY OLHA KOBYLIANSKA." Слово і Час, no. 6 (December 13, 2023): 3–19. http://dx.doi.org/10.33608/0236-1477.2023.06.3-19.
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The paper analyzes the images of Romani in the works by Olha Kobylianska against the background of the multiethnic situation in Bukovyna, and traces the influence of the anthropological interpretation of the Gypsies as a race and a pre-modern people on the representation of Romani in the literature of the Romanticism period and the 2nd half of the 19th century.
Kobylianska treats the Gypsies not only as an exotic ‘other’ but also as an integral part of the cultural and ethnic identity of Ukrainian society and analyzes the relationship between Romani as monads and settled peasants, as well as the processes of assimilation and integration of Gypsies into the Ukrainian environment. By depicting the colourful images of the Roma in her works, Kobylianska unfolds conflict situations related to the struggle for land and the participation of ‘outsiders’ in them. The Gypsy is a figure of the stranger who serves as a matrix of ‘otherness’ for her and functions in various semantic projections. Such a matrix is projected onto the life of Hutsuls as children of nature; it correlates with the situation of reversed gender, in particular feminine identity; it serves as an attribute of exotic and oriental racial otherness. Adopting romantic oriental stereotypes about Gypsies, Kobylianska, in accordance with the anthropology of the time, marks them racially (through the signification of the ‘black’ body) and geographically (through their belonging to the Oriental world). At the same time, she brings these images closer to Ukrainian life and everyday routine and doesn’t ignore the assimilation and relations between Ukrainians and Gypsies. Settled and nomadic peoples, insiders and outsiders become the backdrop against which Kobylianska unfolds the drama of shaping the modern Ukrainian nation.
Dissertations / Theses on the topic "Race relations – drama"
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Blackmore, Ernie. "Speakin' out blak an examination of finding an "urban" Indigenous "voice" through contemporary Australian theatre /." Click here for electronic access to document: http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080111.121828/index.html, 2007. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080111.121828/index.html.
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Thesis (Ph.D.)--University of Wollongong, 2007."Including the plays Positive expectations and Waiting for ships." Title from web document (viewed 7/4/08). Includes bibliographical references: leaf 249-267.
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Valenti, Eva. "La Sociolinguistique Postcoloniale en Amérique Hispanophone et en Afrique Francophone : Un Drame Linguistique en Deux Actes." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/57.
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This thesis analyzes the sociolinguistic situations in postcolonial Latin America and francophone North Africa (the Maghreb) through a comparative lens. Specifically, it examines the ways in which Spain and France’s differing colonial agendas and language ideologies affected the relationships between colonizer and colonized, and, by extension, the role that Spanish and French play(ed) in these regions after decolonization. Finally, it explores how Spain and France’s contemporary discourses frame colonial participation in the two languages’ development, and the psychological effects these ideologies have had on the formerly colonized.
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Oliveira, Campoy Juliana de. "Framing the presidency : presidential depictions on Fox's fictional drama 24." Thesis, 2014. http://hdl.handle.net/1805/5754.
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Indiana University-Purdue University Indianapolis (IUPUI)Framing theory is one of the most used theories in the discussion of media effects on how people make sense of issues, especially in the political environment. Although it is majorly used for the discussion of news media, framing theory can also be applied in other areas surrounding media production. This thesis uses this theory to discuss how presidents are framed in fiction and implications of race and gender in the assessment of presidential characters by analyzing Fox’s fictional drama 24. Although at first the show seems to bring new options for the presidency, the analysis points Presidents Palmer and Taylor as unfit for office and President Logan as unethical and power-hungry. Following Entman’s (1993) process for analyzing frames in media, embedded white male hegemony was identified in the show. As the show presented a postfeminist and postracial world, it continued to frame femininity and blackness as the opposite to effective executive leadership. Further, white masculinity was associated with power, ambition and ultimately corruption. As other races and gender were pointed as unfit, the status quo was questioned as being corrupt. The show both increases the cynicism that people may develop against politics and damages a more proper consideration of women and people of color to be elected president.
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Lyssa, Alison. "Performing Australia's black and white history: acts of danger in four Australian plays of the early 21 century." 2006. http://hdl.handle.net/1959.14/714.
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Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006.Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006.
Bibliography: p. 199-210.
Introduction -- Defiance and servility in Andrew Bovell's Holy day -- Writing a reconciled nation: Katherine Thomson's Wonderlands -- Transformation of trauma: Tammy Anderson's I don't wanna play house -- The rage inside the pain: Richard J. Frankland's Conversations with the dead -- Conclusion: towards an understanding of witness to the trauma of invasion.
In an Australia shaped by neo-conservative government and by searing contention, national and global, over what the past is, how it should be allowed to affect the present and who are authentic bearers of witness, this thesis compares testimony to Australia's black/white relations in two plays by white writers, Andrew Bovell's 'Holy day' (2001) and Katherne Thomson's 'Wonderlands' (2003), and two black writers, Tammy Anderson's 'I don't wanna play house' (2001) and Richard J. Frankland's 'Conversations witht the dead' (2002).
Mode of access: World Wide Web.
210 p. ill. 30 cm
Books on the topic "Race relations – drama"
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Gibbons, Thomas. Bee-luther-hatchee: A drama. 3rd ed. New York, NY (P.O. Box 237060, New York, NY 10023): Playscripts, Inc., 2004.
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Gibbons, Thomas. Bee-luther-hatchee: A drama. New York (P.O. Box 237060, New York, 10023): Playscripts, Inc., 2002.
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Coffey, Horace Marcus. Mountain people and the burning of Atlanta. [Morristown, TN] (240 Parkhurst Manor, 739 E. Second North St., Morristown 37814): H.M. Coffey, 1993.
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Corman, Roger, Gene Corman, and Charles Beaumont. The intruder. Burbank, CA: Buena Vista Home Entertainment, 2007.
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Lacour, J. L. Pyracmond ou Les Créoles: Drame lyrique en 3 actes : texte et documents inédits. Paris: l'Harmattan, 2012.
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Dramatists Play Service (New York, N.Y.), ed. White. New York, NY: Dramatists Play Service Inc., 2018.
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Anderson, Maxwell. Lost in the stars. Alexandria, VA: Alexander Street Press, 2005.
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Barry, Lynda. The good times are killing me. New York: S. French, 1993.
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Ward, Theodore. Big white fog. London: Nick Hern Books, 2007.
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Dramatists Play Service (New York, N.Y.), ed. Passage. New York, NY: Dramatists Play Service, Inc., 2020.
Find full textBook chapters on the topic "Race relations – drama"
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Hixson, Walter L. "Black And White: The O. J. Simpson Case(1995)." In Race On Trial, 214–32. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195122794.003.0013.
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Abstract The 0. J. Simpson case was the most sensational criminal drama in American history. Never before had such a volatile mixture of celebrity, murder, media, glitz, sleaze, grandstanding, incompetence, and injustice come together in a series of judicial proceedings that seemingly would not end. More than a mere media event, however, the Simpson case illuminated the status of race relations in the United States. Its disturbing outcome revealed just how deeply divided Americans remained over issues of race and justice.
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Edelstein, Tilden G. "Othello in America: The Drama of Racial Intermarriage *." In Interracialism, 356–68. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195128567.003.0021.
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Abstract A recent historian of nineteenth-century race relations claims that pre-Victorian Americans so feared racial intermarriage and amalgamation that they “found it difficult to sit through a performance of Othello.” Given the history of American race relations such difficulty hardly seems surprising. Paradoxically, despite its racial and sexual elements, Othello has been one of the most frequently performed Shakespearean plays in a nation that has watched more Shakespeare than it has the works of any other playwright. Shakespeare encompassed art, culture, and the wisdom of Western civilization; and for American actors and audiences Othello’s volatile racial, sexual, and class themes provided drama surpassing the dimensions of the stage. Engrossing drama, exemplified by Othello, communicates symbolically, simultaneously presenting the recognizably concrete event with verbal and physical images transcending material reality. Two centuries of American Othello perform ances dramatized some of this country’s racial reality and its racial fantasies.
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Bidnall, Amanda. "Barry Reckord, the Race Relations Narrative, and the Royal Court Theatre." In West Indian Generation. Liverpool University Press, 2017. http://dx.doi.org/10.5949/liverpool/9781786940032.003.0007.
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“Barry Reckord, the Race Relations Narrative, and the Royal Court Theatre” shifts its analysis of the race relations narrative to the forefront of postwar London drama. Jamaican playwright—and one of the quintessential “angry young men”—Barry Reckord was among the first to have a play selected by the English Stage Company for production at the reborn Royal Court Theatre. By examining Reckord’s first three plays, Flesh to a Tiger, You in Your Small Corner, and Skyvers, in the context of the Royal Court’s rise to cultural ascendancy, this chapter demonstrates how Reckord helped build the so-called cultural revolution that would write him out of its history.
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Rochat, Philippe. "Group Essentialism." In Moral Acrobatics, 99–103. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190057657.003.0019.
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Group affiliation is typically objectified in physical things like uniforms, a flag, or family totems. These things stand for and are placeholders of our alliances. Essentialism applies to groups and intergroup relations. This is particularly evident in the kind of blind-spot inferences we tend to make regarding in-group as opposed to out-group intrinsic elusive characteristics, presumably inherent to race and national identity. Both are ready-made constructs, but with no objective biological or even sociohistorical essential features. Indeed, what defines a Black person or a Russian, except for skin color, geographic birth, or a passport? Anything but the intrinsic characteristics we infer and amplify from such surface features, guiding us blindly toward categorical attitudes and short-cut moral decisions. The spectacular drama of team competition, gang wars, and other intergroup conflicts represents an opportunity for players, fans, gang members, and other protagonists to express and assert essential characters of their in-group and reveal essential characters of the out-group. It is an opportunity to probe alliances and for protagonists to emulate the extent to which they belong and merit membership to the group.
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Ames, Melissa. "Fictionalizing Ferguson in Prime-Time Dramas." In Small Screen, Big Feels, 140–60. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813180069.003.0008.
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Chapter Seven narrows its focus to one particular year of programming that featured storylines about police brutality, inequity within the criminal justice system, and the #Black Lives Matter movement that has risen to speak out against both. Drawing upon trauma theory, this essay analyzes special episodes of CBS's The Good Wife (2009-2016) and ABC's Scandal (2010-2018) -- which have been referred to by media critics as each program's respective "Ferguson episode" -- and the first season of ABC's American Crime (2015-2017), a gritty crime anthology/mini-series which unflinchingly tackled racial conflict in its debut year. While there are reasons to be wary of attempts to fictionalize current race relations, this chapter ultimately argues that series that include thoughtful, complex storylines, and televisual aesthetics that underscore the social commentary contained with the program, may allow these issues not just to be understood, but felt.
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Dossett, Kate. "Our Actors May Become Our Emancipators." In Radical Black Theatre in the New Deal, 40–77. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654423.003.0002.
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This chapter examines how Black performance communities in New York City and Seattle transformed the political narrative of Stevedore from an interracial labor drama into a play of Black self-determination. First staged by the Theatre Union in New York in 1934, this white-authored labor drama explores interracial relations between Black and white dockworkers. The Black hero who stands up for fellow dockworkers is framed on a rape charge. When the white mob arrives to lynch the Black hero, Black dock workers fight back with the help of white union men. Two years later Stevedore was staged by the Seattle Negro Unit. On the federal theatre the interracial ending was downplayed, and possibly dropped altogether: Black men appear to resist the white mob alone. Black self-determination, rather than interracial unionism wins the day. Stevedore’s fascinating production history offers insight into the practices and theoretical debates which framed political theatre in the 1930s. It suggests that Black performance communities moved beyond the realist-anti-realist binaries that consumed white leftist theatre and instead developed a Black realism with radical potential.
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Harris, Geraldine. "Divided duties: diasporic subjectivities and ‘race relations’ dramas (Supply and Demand, The Bill, Second Generation)." In Beyond Representation, 66–98. Manchester University Press, 2011. http://dx.doi.org/10.7228/manchester/9780719074585.003.0013.
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Stevenson, Randall. "Revolution, Television, Subsidy." In The Last of England?, 381–96. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198184232.003.0015.
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Abstract ‘Art never expresses anything but itself’ (I), a playwright—clearly modelled on Tom Stoppard—suggests in Peter Nichols’s A Piece of My Mind (1987). Theatrical art, at any rate, has always been interested in itself, plays-within-plays and other forms of metatheatre appearing regularly on English stages ever since Shakespeare’s A Midsummer Night’s Dream, or indeed much earlier. Yet in the later twentieth century—consistently with some of the postmodernist influences of the time—drama was more widely and diversely self- interested than in most earlier ages. Relations between theatre, art, and life were explored extensively by Tom Stoppard, Michael Frayn, and David Pownall, as well as by Peter Nichols himself.
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Kivy, Peter. "Music in the Movies: A Philosophical Inquiry." In Music, Language, and Cognition, 62–88. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199217663.003.0006.
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Abstract The two major forms of “talked” drama, movies and plays, are sharply distinguished in numerous ways, as artistic practices. But one of the most notable and, I shall argue, most mystifying of these ways is in regard to music. For the presence of music in a spoken play is a rare occurrence—although there is a tradition for it—whereas what is rare in the cinema is the absence of music. The movies have had, almost from the very beginning, a running musical background. And whereas it is fairly clear what the reason for this was in the silent era, it is by no means obvious, as I shall suggest later on, why music endured in its peculiar relation to the cinema with the advent of the talkies.
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Steinberg, Michael, and Larry Rothe. "Music, True or False." In For the Love of Music, 231–36. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195162165.003.0029.
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Abstract I discovered concert music when I was sixteen, after watching a Wonderful World of Disney life of Beethoven, with the German actor Karl-Heinz Böhm portraying the composer. Beethoven’s rage against his deafness, his struggle to write a kind of music that would be the ultimate obscene gesture to a Fate that had dealt him a lousy hand of cards—all this appealed to my adolescent sense of injustice and isolation and defiance. The idea of Beethoven-as-hero was appealing. To me he seemed a role model, with a disdain of manners and social convention that could match any teenager’s, and with a moral and artistic superiority that set him apart and made him untouchable. Who would dare take on the composer of the Fifth Symphony for having a messy room? I discovered music, you see, through unmusical means. I saw it as a human being’s stance in relation to his life, something to be worn as a label that listed the ingredients of the soul. I came to music by identifying its beauties and dramas with a kind of ethical position. That sounds severe and Germanic and pompous but, when you come to think of it, is really the only way to approach music if you approach music through Beethoven, who is not pompous at all. Music, and what it could say and where it could lead: all this was a discovery like one of the many discoveries that teenagers continue to make, believing that certain facts about life have lain in hiding for centuries. And I suppose those facts actually do remain hidden, awaiting detection just as a volume of Keats or a recording of Bach sits dormant until a reader or a listener comes along.
Conference papers on the topic "Race relations – drama"
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Pouwhare, Robert. "The Māui Narratives: from bowdlerisation, dislocation and infantilisation to veracity, relevance and connection." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.182.
Full textAbstract:
In Aotearoa New Zealand, as a consequence of colonisation, generations of Māori have been alienated from both their language and culture. This project harnessed an artistic re-consideration of pūrākau (traditional stories) such that previously fractured or erased stories relating to Māui-tikitiki-a-Taranga were orchestrated into a coherent narrative network. Storytelling is not the same as reading a story aloud or reciting a piece from memory. It also differs from performed drama, although it shares certain characteristics with all of these art forms. As a storyteller I look into the eyes of the audience and we both construct a virtual world. Together the listener and the teller compose the tale. The storyteller uses voice, pause and gesture; a listener, from the first moment, absorbs, reacts and co-creates. For each, the pūrākau is unique. Its story images differ. The experience can be profound, exercising thinking and emotional transformation. In the design of 14 episodes of the Māui narrative, connections were made between imagery, sound and the resonance of traditional, oral storytelling. The resulting Māui pūrākau, functions not only to revive the beauty of te reo Māori, but also to resurface traditional values that lie embedded within these ancient stories. The presentation contributes to knowledge through three distinct points. First, it supports language revitilisation by employing ancient words, phrases and karakia that are heard. Thus, we encounter language expressed not in its neutral written form, but in relation to tone, pause, rhythm, pronunciation and context. Second, it connects the Māui narratives into a cohesive whole. In doing this it also uses whakapapa to make connections and to provide meaning and chronology both within and between the episodes. Third, it elevates the pūrākau beyond the level of simple children’s stories. The inclusion of karakia reinforces that these incantations are in fact sacred texts. Rich in ancient language they give us glimspes into ancient epistemologies. Appreciating this elevated state, we can understand how these pūrākau dealt with complex human and societal issues including abortion, rape, incest, murder, love, challenging traditional hierarchies, the power of women, and the sacredness of knowledge and ritual. Finally, the presentation considers both in theory and practice, the process of intergenerational bowdlerisation.