Literatura académica sobre el tema "Totalitarianism – drama"
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Artículos de revistas sobre el tema "Totalitarianism – drama"
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Kolařík, Aleš. "Poetics and contexts of unofficial drama in a totalitarianism". Theatralia, n.º 2 (2022): 167–71. http://dx.doi.org/10.5817/ty2022-2-12.
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Keturakienė, Eglė. "Lithuanian Literature and Shakespeare: Several Cases of Reception". Interlitteraria 24, n.º 2 (15 de enero de 2020): 366–79. http://dx.doi.org/10.12697/il.2019.24.2.8.
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The article is based on the reception theory by Hans Robert Jauss and analyses how Shakespeare’s works were read, evaluated and interpreted in Lithuanian literature in the 19th to 21th centuries. Some traces of Shakespeare’s works might be observed in letters by Povilas Višinskis and Zemaitė where Shakespearean drama is indicated as a canon of writing to be followed. It is interesting to note that Lithuanian exodus drama by Kostas Ostrauskas is based on the correspondence between Višinskis and Zemaitė. The characters of the play introduce the principles of the drama of the absurd. Gell’s concept of distributed personhood offered by S. Greenblatt is very suitable for analysing modern Lithuanian literature that seeks a creative relationship with Shakespeare’s works. The concept maintains that characters of particular dramas can break loose from the defined interpretative framework.
Lithuanian exodus drama reinterprets Shakespeare’s works and characters. The plays by Ostrauskas and Algirdas Landsbergis explore the variety of human existence and language, the absurd character of the artist, meaningless human existence and the critique of totalitarianism. Modern Lithuanian poetry interprets Shakespeare‘s works so that they serve as a way to contemplate the theme of modern writing, meaningless human existence, the tragic destiny of an individual and Lithuania, miserable human nature, the playful nature of literature, the clownish mask of the poet, the existential silence of childhood, the topic of life as a theatrical performance, the everyday experience of modern women in theatre. The most frequently interpreted dramas are Hamlet, King Lear and Macbeth – Lithuanian literary imagination inscribed them into the field of existentialist and absurd literature.
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Bernacki, Marek. "Obywatel Poeta. Wizja Polski w „Prologu” Czesława Miłosza". Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 49, n.º 4 (31 de enero de 2021): 227–39. http://dx.doi.org/10.36770/bp.553.
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The subject of considerations is the vision of Poland contained in the Prologue – the only dramatic work by Czesław Miłosz, written during the occupation and published for the first time in „Pamiętnik Teatralny”only in 1981. The author sees the Prologue as a testimony to the awareness of Polish pre-war elites who counted on the rebirth of post-war Poland. He reads Miłosz’s drama as an example of an intertextual workin which one can hear the reverberation of ancient, Renaissance and romantic pieces. He sees in it a record of the spiritual dilemmas of the future Nobel laureate, who had to choose between the attitude of a humanist and the temptation of totalitarianism, and also as an example of a work with universal, timeless ideological significance, speaking about the dilemmas of an individual colliding with the ruthless forcesof historical or political determinism.
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Окунева, Е. Г. y А. Ю. Дубова. "THE CONCEPT OF TOTALITARIANISM AND THE PRINCIPLES OF ITS MUSICAL EMBODIMENT IN EVERY GOOD BOY DESERVES FAVOUR BY TOM STOPPARD AND ANDRÉ PREVIN". Music Journal of Northern Europe, n.º 3(31) (8 de abril de 2024): 1–25. http://dx.doi.org/10.61908/2413-0486.2022.31.3.1-25.
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Объектом исследования в статье выступает пьеса для актёров и оркестра «Every good boy deserves favour» (в рус. перев. «До-ре-ми-фа-соль-ля-си-Ты-свободы-попроси»), созданная британским драматургом Томом Стоппардом и американским композитором Андре Превеном в 1977 году. Главной идеей пьесы является противостояние тоталитарного государства и личности. В работе раскрываются особенности драматургии и стилистики пьесы в ракурсе воплощения её ведущей тематической линии. Отмечается влияние театра абсурда в драматургии Стоппарда. Особое внимание уделяется специфике сценической постановки, а также музыкальному языку, насыщенному стилевыми аллюзиями и цитатами. Выбор интертекстуальных отсылок, их анализ и интерпретация позволяют утверждать, что музыка становится важным смысловым компонентом всей пьесы, не только отражая главную идею сочинения, но и устанавливая дополнительные смысловые обертоны, раскрывающие судьбу искусства в тоталитарном государстве. The object of the research in the article is the play for actors and orchestra Every Good Boy Deserves Favour, created by the British playwright Tom Stoppard and the American composer André Previn in 1977. The main idea of the play is the confrontation between a totalitarian state and an individual. The article reveals the features of the drama and style of the play from the perspective of the embodiment of its leading thematic line. The influence of the theater of the absurd in Stoppard’s drama is noted. Special attention is devoted to the specifics of the stage production, as well as the musical language packed with stylistic allusions and quotations. The choice of intertextual references, their analysis and interpretation allow us to assert that music becomes an important semantic component of the whole play, not only reflecting the main idea of the composition, but also establishing additional semantic overtones that reveal the fate of art in a totalitarian state.
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Mięsowska, Lidia. "Między postkomunizmem a postmodernizmem. Najnowszy dramat rosyjski w poszukiwaniu tożsamości kulturowej". Miscellanea Posttotalitariana Wratislaviensia 4 (26 de abril de 2016): 59–77. http://dx.doi.org/10.19195/2353-8546.4.6.
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Between post-communism and postmodernism. The new Russian drama in search for its cultural identity. Russian drama after 1991, suspended between memory and oblivion, attempts to process an overwhelming trauma of its own tragic history. Evgeny Grishkovets, Vladimir Sorokin, Ludmila Petrushevskaya, Alexey Shipenko, Oleg Bogayev, Vasily Sigarev, the Presnyakov brothers, Ivan Vyrypaev and others show experiences preceding and following Perestroika and demonstrate the scale of traumatic consequences of old structures disintegration as well as dangers connected with entering the area of freedom. This way Russian drama underwent all the development stages ranging from admiration for freedom to its negation, all the time without losing an interest in the internal man. Therefore criticism of the communist ideology as a kind of utopia and visions showing the risk of the rebirth of totalitarianism in Russia coexist along with the stream of consciousness depicting what is happening in the soul of a contemporary Russian. The process of self-identification of the human being that is decentralised, standardised and attached to stereotypes of mass awareness takes place within the framework of postmodernist mixture of stylistics and aesthetics, deconstruction of the reality and the language, play with culture codes, which is most fully expressed through the ongoing process of searching for cultural identity of the discussed works.Между посткоммунизмом и постмодернизмом. Современная русская драматургия в поисках культурной идентичности.Русская драматургия после 1991 года, зависшая между памятью и забвением, пытается проработать сковывающую травму своей трагической истории. Евгений Гришковец, Владимир Сорокин, Людмила Петрушевская, Алексей Шипенко, Олег Богаев, Василий Сигарев, братья Пресняковы, Иван Вырыпаев и др. показывают опыт «до» и «после» революции перестройки, демонстрируют масштаб травматических последствий распада предыдущих структур, а также опасности, сопряженные с вхождением в сферу свободы. Таким образом, драматургия в России прошла все стадии развития — от восторга до отрицания свободы, не теряя одновременно заинтересованности внутренним человеком. Отсюда критика утопического характера коммунистической идеологии или образы, указывающие на опасность возрождения тоталитаризма в России, которые сосуществуют с потоком сознания, воссоздающим то, что происходит в душе современного русского человека. Процесс самоидентификации децентрализованного, стандартного и привязанного к стереотипам массового сознания человека происходит в рамках постмодернистского смешения стилистик и эстетик, деконструкции действительности и языка, игры с культурными кодами, что наиболее полно показывает незаконченный процесс поиска культурной идентичности обсуждаемого творчества.
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Mykhailyk, Arthur. "Vinnytsia period of the Khmelnytskyi regional academic music and drama theater named after Mykhailo Starytskyi (1934-1937)". Scientific Papers of the Kamianets-Podilskyi National Ivan Ohiienko University. History 39 (6 de abril de 2023): 231–43. http://dx.doi.org/10.32626/2309-2254.2023-39.231-243.
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The purpose of the article. To investigate the history of the Khmelnytskyi Regional Academic Music and Drama Th eater named aft er Mykhailo Starytskyi during its stay in Vinnytsia (1934-1937), to study the creative progress of the team against the background of the era, to fi nd out the peculiarities of its economic life and everyday life. Research methods: the article uses general scientifi c and specifi c-historical research methods, which made it possible to achieve its goal and fulfi ll the set tasks. Th e main thing is the use of the method of analysis and synthesis, which made it possible to study the general trends of the historical progress of Ukrainian theatrical art in the fi rst half of the 1930s through the study of individual compo- nents. Th e scientifi c novelty consists in the comprehensive coverage of the functioning of one of the Ukrainian theaters during the active formation of Soviet totalitarianism and the creation on this basis of an objective picture of the development of national stage art in the era of Stalinism. Conclusions. Th e economic and creative components of the theater’s activity in the Vinnytsia period depended on the peculiarities of the socio-economic and political transformations of Ukrainian society in the fi rst half of the 1930s of the 20th century. Th e economic dependence of the theater group on state funding, the lack of its own premises and constant relocations made it completely dependent on the prevailing political and ideological situation, deprived it of freedom of creativity and limited the artistic search within the framework of “socialist realism”
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Żygadło-Czopnik, Dorota. "Backlash, czyli czego obawiają się twórcy najnowszej dramaturgii czeskiej". Miscellanea Posttotalitariana Wratislaviensia 4 (26 de abril de 2016): 37–47. http://dx.doi.org/10.19195/2353-8546.4.4.
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Backlash, or what are the makers of the new Czech drama afraid of. In November 1989 various theater groups participated in overthrowing the totalitarian regime by improvising discussion forums. After the so-called Velvet Revolution, it was the writer and playwright Václav Havel who became head of state while another playwright, Milan Uhde, became the Minister of Culture and Speaker of the Parliament. Nowadays the Czech theater scene is immensely diversified. We can divide the authors who began writing their dramas after 1989 into two generational groups. On the one hand, there are authors born in 1960–1970, who entered the post-totalitarian times already as mature adults and who at the moment have long experience in their artistic work as playwrights, actors or directors it is quite common that those people write and direct their own work. On the other, there is a younger group which is made of people who were still children during the communist era, and their artistic activity was shaped and took place in most recent years. We are talking about a generation of artists who share a common experience of totalitarianism in childhood and adolescence, as well as the difficult transition between the two systems: communist and capitalist.Backlash neboli čeho se bojí tvůrci nejnovější české dramaturgie. V listopadu 1989 se v České republice divadelní soubory pořádáním improvizovaných diskuzních fór účastnily svržení totalitního režimu. Po tzv. sametové revoluci stanul v čele státu spisovatel a dramaturg Václav Havel a další dramaturg, Milan Uhde, se stal ministrem kultury a předsedou Poslanecké sněmovny. V současnosti je česká divadelní scéna nesmírně rozrůzněná. Jména autorů, kteří začali svá umělecká díla psát po roce 1989, můžeme rozdělit do dvou generačních skupin. Na jedné straně máme autory narozené v letech 1960–1970, kteří do posttotalitních časů vstoupili už jako dospělí lidé a v současnosti za sebou mají většinou dlouholeté zkušenosti v umělecké práci, nebo v roli autorů dramat, herců případně režisérů často se jedná o osoby, které svoje kusy píší a zároveň režírují. Skupinu mladých umělců tvoří lidé divadla, kteří v době komunismu byli ještě dětmi, a jejich umělecká činnost se formuje a připadá na nedávná léta. Je tu řeč o generaci umělců, které spojuje společná zkušenost totalitarismu v dětství a raném mládí a také obtížný přechod mezi dvěma systémy: komunistickým a kapitalistickým.
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Fensham, Rachel. "Costumes and Choreography from Bodenwieser's Trunk: The Coat as Affective Memory". Dance Research 37, n.º 1 (mayo de 2019): 89–110. http://dx.doi.org/10.3366/drs.2019.0255.
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The Viennese modern choreographer Gertrud Bodenwieser's black coat leads to an analysis of her choreography in four main phases – the early European career; the rise of Nazism; war's brutality; and postwar attempts at reconciliation. Utilising archival and embodied research, the article focuses on a selection of Bodenwieser costumes that survived her journey from Vienna, or were remade in Australia, and their role in the dramaturgy of works such as Swinging Bells (1926), The Masks of Lucifer (1936, 1944), Cain and Abel (1940) and The One and the Many (1946). In addition to dance history, costume studies provides a distinctive way to engage with the question of what remains of performance, and what survives of the historical conditions and experience of modern dance-drama. Throughout, Hannah Arendt's book The Human Condition (1958) provides a critical guide to the acts of reconstruction undertaken by Bodenwieser as an émigré choreographer in the practice of her craft, and its ‘materializing reification’ of creative thought. As a study in affective memory, information regarding Bodenwieser's personal life becomes interwoven with the author's response to the material evidence of costumes, oral histories and documents located in various Australian archives. By resurrecting the ‘dead letters’ of this choreography, the article therefore considers how dance costumes offer the trace of an artistic resistance to totalitarianism.
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Likhomanov, Igor. "N.A. Berdyaev’s Chiliastic “Mirage” and Eurasianism". Ideas and Ideals 14, n.º 1-2 (25 de marzo de 2022): 408–27. http://dx.doi.org/10.17212/2075-0862-2022-14.1.2-408-427.
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The article is devoted to the problem of N. A. Berdyaev’s ambiguous and contradictory attitude to Eurasianism - the ultra-right political trend of Russian emigration in the 1920s and 1930s. The author sees the reasons for Berdyaev’s rapprochement with the Eurasians in the collapse of the religious and mystical ideal that captured the philosopher’s imagination during the First World War. Under the influence of religious excitement that seized part of the Russian intelligentsia in the pre-war period, he believed in the nearness of the end of history and the onset of the millennial Kingdom of God on earth. According to Berdyaev, Russia was called upon to fulfill its historical mission in this final act of the world drama. This role (the “Russian Idea”) was to unite the East and the West in a global religious and cultural synthesis. The revolution of 1917 destroyed Berdyaev’s eschatological ideal and forced him to radically reconsider his view. From a Christian anarchist, he turns into a statesman, a defender of conservative values and social hierarchy. During this period, his social philosophy is very close to the ideology of fascism. But fascism was a pan-European phenomenon and in each country had its own original versions. The Eurasian movement was one of the varieties of Russian fascism. Berdyaev’s political sympathies brought him closer to this movement and became the main reason for long-term cooperation with its leaders. However, the commitment to the values of individual freedom and Christian personalism as the basis of his worldview did not allow Berdyaev to go far in his passion for right-wing conservative ideas. In the late 1920s, he sharply criticized the totalitarian features of the Eurasian ideology. After the National Socialists came to power in Germany, Berdyaev gets the opportunity to compare European far-right regimes and creates a general theory of totalitarianism. In this theory, he uses Eurasian concepts and terminology. Thus, Eurasianism becomes a model for him, on the basis of which he develops his theory of totalitarianism. After the end of the Second World War, the philosopher got deeply disappointed. After the end of the Second World War, the disappointment of the philosopher was due to the failure of his hopes for a softening of the political regime in the USSR. He was again seized by gloomy forebodings of an unsuccessful end to human history. And although the hope for a favorable outcome of the struggle between good and evil did not leave Berdyaev until the end of his life, a sense of realism weakened those hopes and faith in the feasibility of the “Russian Idea”.
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Martonova, Andronika. "Your Communism Is Not Ours Communism’: the Contexts of Post-Totalitarian Bulgarian Cinema and Mina Mileva, Vesela Kazakova’s Disobedient Films". Balkanistic Forum 28, n.º 3 (16 de noviembre de 2019): 227–49. http://dx.doi.org/10.37708/bf.swu.v28i3.13.
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The study sketches out the contexts where Bulgarian film has been developing in the three decades of transition to democracy. The problems associated with the identity crisis, insufficient communication with the national audiences, Bulgarian films’ belonging to the European audiovisual and cultural continuum and critical reflection are partly broached. The cinematic environment has changed in Bulgaria after 2010 with the coming of emerging authors, who gave this country’s filmmaking a new physiognomy. Their works are much more adequate to the globalising world, providing genre diversity and dealing with subjects easier for the audiences to identity themselves with. The plots revolving around the present day and the ramifications of the socialist era prevail. In general, Bulgarian films of the recent decade are in visible demand at international film festivals, attracting the attention of foreign film critics. Awards, however, are not necessarily passports for good reception in the homeland`s milieu. Such is the case with Mina Mileva, Vesela Kazakova’s directorial duo (Actvist 38) and their two controversially documentary films Uncle Tony, Three Fools and the Secret Service (2013) and The Beast Is Still Alive (2016). An analysis of their works shows that reverting to the subject of totalitarianism and the attempt at reaching a consensus-based memory onscreen are still risky in Bulgaria’s cultural environment. Their new full-length future film – the emigrant social comedy-drama Cat in the Wall (2019, warmly accepted and awarded abroad) - surprisingly received the national Golden Rose Debut Award 2019, but the Bulgarian critics` stays still undeservedly reserved.
Libros sobre el tema "Totalitarianism – drama"
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Freedom denied: A play. Enugu, Nigeria: Delta of Nigeria, 2000.
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Olbrych, Wiesława. Wasilij Grossman: Dramat humanisty w świecie cywilizacji totalitarnej. Toruń: Adam Marszałek, 2004.
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Bradbury, Ray. Fahrenheit 451. 8a ed. New York: Simon & Schuster, 2003.
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Bradbury, Ray. 華氏451度. Taibei Shi: Huang guan wen hua chu ban you xian gong si, 2006.
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Bradbury, Ray. Fahrenheit 451. New York: Ballantine Books, 1996.
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Orwell, George. Ferma zhivotnykh: Nepravdopodobnai︠a︡ istorii︠a︡. Moskva: Galaktika-IGM, 1995.
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Orwell, George. Animal Farm: A fairy story. London: Penguin, 1989.
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Bradbury, Ray. Fahrenheit 451. London, England: Voyager, 2001.
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Bradbury, Ray. 華氏451度. Taibei Shi: Mai tian chu ban, 2015.
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Bradbury, Ray. Fahrenheit 451: The temperature at which book paper catches fire, and burns… New York, USA: Del Rey/Ballantine, 1989.
Buscar texto completoCapítulos de libros sobre el tema "Totalitarianism – drama"
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Yde, Matthew. "Shaw’s Totalitarian Drama of the Thirties; or, Shaw and the Dictators: Geneva, The Millionairess, The Simpleton of the Unexpected Isles". En Bernard Shaw and Totalitarianism, 143–84. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137330208_6.
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"Eastern Europe, Totalitarianism, and the Wooden Words". En A History of Modern Drama, 353–85. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118893241.ch13.
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Kaute, Wojciech. "Światło, ciemność, czy jeszcze coś… Oświecenie, nowożytność a świat wartości". En Polityka - wojskowość - bezpieczeństwo. Księga jubileuszowa z okazji 40-lecia działalności naukowej Profesora Romana Kochnow, 93–106. Wydawnictwo Naukowe Uniwersytetu Pedagogicznego w Krakowie, 2023. http://dx.doi.org/10.24917/9788380849396.5.
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The concept of the Enlightenment is one of the basic categories of modern culture and civilization. It means „light” as opposed to „dark”. The „spirit” of the Enlightenment is an integral part of liberalism and democracy, their of values. One the most famous text on this subject is the article written by I. Kant in 1783 „What is Entlightenment?”.According to Kant, the message of this thought formation is reduced to the slogan: Sapere aude! „Have courage!”. However, this is an equivocal slogan. He need to be included in a wider cultural context. The basic od modernity is Descartes´ cogito. It is the idea of an autonomous and sovereign individual. It undertakes economic activity. This is the market. Here, values are worked out in democratic practice. At the same time, a view has developed in modern culture that there is no value in the world of the market. This is the thought of J. J. Rousseau. And this thought is continued by I. Kant. In his view, there is a need to create values whitch grow beyond the world of exchange. This is the measure of „courage”. This concept will be radically developed by J. G. Fiche, G.W. F. Hegel and – finally – K. Marks. And this is how the doctrine of totalitarianism (fascizm, communizm) will be created. The concept of the Enlightenment is not unequivocal. This is the drama of modern times.