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Artykuły w czasopismach na temat "Censorship – drama"
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OTA, Kazuaki. "Jacobean Drama and Censorship". Journal of UOEH 12, nr 2 (1990): 239–49. http://dx.doi.org/10.7888/juoeh.12.239.
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Davidson, Clifford. "Drama, Censorship, and “Vernacular Theology”". Studies in Philology 116, nr 1 (2019): 35–53. http://dx.doi.org/10.1353/sip.2019.0001.
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Bratton, J. S., i John Russell Stephens. "The Censorship of English Drama 1824-1901". Yearbook of English Studies 15 (1985): 314. http://dx.doi.org/10.2307/3508604.
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McKibbin, Ross. "The Censorship of British Drama, 1900–1968". English Historical Review CXXI, nr 490 (1.02.2006): 340–42. http://dx.doi.org/10.1093/ehr/cej102.
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Schupak, Esther B. "Redefining Censorship". European Judaism 51, nr 2 (1.09.2018): 134–42. http://dx.doi.org/10.3167/ej.2018.510219.
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Abstract Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.
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Schupak, Esther B. "Redefining Censorship". European Judaism 51, nr 2 (1.09.2018): 134–42. http://dx.doi.org/10.3167/ej.2017.510219.
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Because of its potential for fostering antisemitic stereotypes, in the twentieth century The Merchant of Venice has a history of being subject to censorship in secondary schools in the United States. While in the past it has often been argued that the play can be used to teach tolerance and to fight societal evils such as xenophobia, racism and antisemitism, I argue that this is no longer the case due to the proliferation of performance methods in the classroom, and the resultant emphasis on watching film and stage productions. Because images – particularly film images – carry such strong emotional valence, they have the capacity to subsume other pedagogical aspects of this drama in their emotional power and memorability. I therefore question whether the debate over teaching this play is truly a question of ‘censorship’, or simply educational choice.
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Edelstein, Gabriella. "‘Changed to another form’". Critical Survey 36, nr 1 (1.03.2024): 44–57. http://dx.doi.org/10.3167/cs.2024.360104.
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Abstract This article demonstrates how dramatic censorship in London's public theatres necessitated a kind of collaborative playwriting with extra-authorial labourers. In the playbook manuscript of Sir John van Olden Barnauelt, the Master of the Revels, Sir George Buc, and the playhouse scribe, Ralph Crane, engaged in a collaborative process that resulted in the most censored extant dramatic document of the early modern English theatres. The censorship is revealing of how political drama was interpreted by its first readers – it was Buc's exegetical interpretation of Barnauelt as anti-monarchical that led to his collaborative revisions and the play's restructuring. This style of censorship also has wider implications. If almost every play was read and revised by the Master of the Revels and perhaps edited by a scribe, then most early modern drama was collaboratively written.
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Richmond, Steven. ""And Who Are the Judges?": Mikhail Bulgakov Versus Soviet Censorship, 1926-1936". Russian History 33, nr 1 (2006): 83–107. http://dx.doi.org/10.1163/187633106x00050.
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AbstractMikhail Bulgakov is renowned for his challenge to the dry literary canons of the Soviet regime through his fantstical works of colorful content and unorthodox form, such as Sobach'e serd'tse (Heart of a Dog) and Master i Margarita. But Bulgakov is much mort than an exotic exception to Soviet puritanicalness. His works also include the highly practical and realistic, such as the tragic war-time works "Zapiski iungo vracha" (Notes of a Young Doctor) and Belaia gvardiia (The White Guad). Bulgakov's literary challenge to Soviet censorship also took direct forms. including two works that brazenly satire and examine the utterly taboo subjest of state censorship: the play, Bagrovyi ostrov (The Crimson Island) and Teaal'nyi roman (Theatrical Novel). Bulgakov's challenge to power also extendel to the epistolary, in the form of letters he sent to the Soviet government (and were read by Stalin) that contain attacks against the Soviet censorship bureau. In this real-life drama of Bulgakov versus Soviet censorship, we witness the icredible creativity and bravery of the artist, as well as discover his original and informative theory about how Soviet censorship operated. Let us begin our examina tion of this drama with the censorship bureau itself, how it first functioned and how it came to focus its sights on Bulgakov.
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Goldstein, Robert Justin. "Political Censorship of the Theatre in Nineteenth-Century Europe". Theatre Research International 12, nr 3 (1987): 220–41. http://dx.doi.org/10.1017/s0307883300013699.
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Censorship of the stage, like censorship of the printed word, was widespread and well-established in Europe in 1815. However, while prior censorship of the press was eliminated throughout Europe by 1914, European countries almost universally retained prior censorship of the stage until (and sometimes well after) World War I. England became the first major European country to abolish censorship of the press in 1695, yet Parliament systematized a formerly haphazard theatre censorship in 1737, and did not end stage censorship until 1968. Most other European countries did not eliminate press censorship until about the middle of the nineteenth century, while maintaining theatre censorship throughout the century, and typically exercised much harsher controls over the stage than over the printed word. As John Allen has noted, ‘In many times and places the drama has been subject to far greater censorship than any other form of literature or art’, reflecting governmental feelings that ‘the theatre, with its power of affecting an audience with possibly subversive emotions and ideas, is more to be feared’.
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Howe, Tonya-Marie. "Eighteenth-Century Drama: Censorship, Society, and the Stage". Restoration and Eighteenth-Century Theatre Research 31, nr 1 (2016): 133–36. http://dx.doi.org/10.5325/rectr.31.1.0133.
Pełny tekst źródłaRozprawy doktorskie na temat "Censorship – drama"
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Montgomery, John David. "Censorship and the Drama Curriculum: A study of the censoring of HSC Drama texts for study and performance in the experience of nine educators working in secondary Christian schools in New South Wales". Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/14614.
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This research investigates the contributing factors that influence policy and practice relevant to the censoring of the senior secondary school drama curriculum. Specifically, it examines the practice of and the philosophical basis for censorship in the study and performance of HSC Drama in secondary non-government schools in New South Wales. This study employs an interpretative paradigm of educational research based on a constructivist methodology using narrative analysis. As such the research methodology is a qualitative study employing the tools of interview and questionnaire to three case studies. The three case studies investigated are the three main Christian school systems in New South Wales: Catholic, Protestant and non-denominational Christian schools. In each case study, there is an HSC Drama teacher, a drama faculty head and a director of curriculum. The aim of this study is to produce high-quality, in-depth understandings of why and how censorship operates in these case studies. This study will be of interest and practical use to teachers and principals. These findings demonstrate a chilling effect is widespread in these critical cases. This fear is influencing school management, teachers and students to censor and self-censor texts. This censorship is significantly diminishing the breadth and richness of the curriculum, narrowing student engagement with diverse ideas and significant theatre practitioners. The motivation for these decisions of censorship is often influenced by fear of potential reprisal for the teacher and the school’s reputation. Censorship responses are not often deeply considered and reasoned but rather frequently motivated by appeasement. Issues of the chilling effect, hegemony, determining values and standards, and decision-making processes emerge as themes of this study. The division, diversity and passion in the stories of the respondents, demonstrate a need to develop a conceptual framework and review process to support censorship discourse in schools that is balanced and free of fear. The conceptual framework and review process that this study posits will assist teachers, principals and school communities to make well informed and rationally considered decisions in developing an appropriately broad and balanced arts curriculum.
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Ho, Wing Shan. "How Far Can We Go: Popular Film and TV Drama in Post-1989 China". Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/17937.
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295 pagesMy dissertation addresses two major issues in Chinese contemporary film and TV studies: the first is the proliferations of new forms of subjectivities and the state’s attempt to regulate them via the construction of an ideal citizenship on the film and TV screen; the second is to develop an approach to understand the political economy of screen culture (yingshi wenhua), as well as freedom and control in post-1989 China. My project investigates key contemporary state-sponsored (zhuxuanlü) and state-criticized/banned screen products as a way to explore socialist values advanced by the Chinese Communist Party, as well as the ways in which and the extent to which individuals are able to challenge them. The ways in which my project contributes to the fields of film and TV studies in China are fourfold. First, close readings of selected films and TV dramas inform us of three emergent forms of subjectivity that were previously theorized as a synthesized sublime subject. Second, I conceptualize qualities of the on-screen socialist spirit that the state uses to counteract the three new forms of subjectivity and maintain its superiority. Third, by discussing the state’s intervention and control on production and consumption of screen products, I reveal the state’s vested interests and individuals’ execution of agency in popular culture. This emphasis on state-individual interactions challenges the current focus on TV and film as merely a profit-oriented industry; it also unravels conflicted ideologies in screen products and questions the understanding of popular culture as mainstream culture. Fourth, by achieving the above tasks, my research exposes that the state’s tolerance of its citizens’ partial freedom is for the purpose of political stability.
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Tai, Yuhui. "DEVELOPMENT OR DEPENDENCY? THE EMERGING CHINESE CULTURAL-LINGUISTIC TV MARKET AND IDOL TV DRAMA IN TAIWAN AND CHINA". OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/769.
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AN ABSTRACT OF THE DISSERTATION OF Yuhui Tai, for the Doctor of Philosophy degree in Mass Communication and Media Arts, presented on October 31, 2013, at Southern Illinois University Carbondale. TITLE: DEVELOPMENT OR DEPENDENCY? THE EMERGING CHINESE CULTURAL-LINGUISTIC TV MARKET AND IDOL TV DRAMA IN TAIWAN AND CHINA MAJOR PROFESSOR: John Downing and Jyotsna Kapur The global expansion of neo-liberalism and the new development of media technology have opened up national TV markets worldwide and the changing structure--a weakened local TV industry, multiple TV channels, and the increasing need for importation--has prepared the historical contingency for the emergence of regional cultural centers. The Chinese regional market based on China, Hong Kong and Taiwan is the most prosperous regional market due to the China hub effect, and it is playing an increasingly important role in world economy. In this research, I examine the formation and the driving forces behind the Chinese cultural-linguistic TV market, the dynamic dialectical global/regional/local relationships, the directions in which these forces push, and the major contradictions between these forces in the context of a global capitalist system. This research indicates that the dominant "cultural proximity" argument tends to naturalize the dominance of the regional cultural center and conceals multiple factors interwoven in the formation process. This research argues that it is important to examine the dialectical relationship between the position of a domestic country in the global capitalist system and its development in the regional cultural market. Second, the confluence of the popular cultural/creative policy and the soft power discourse strengthens the ambition and the competition between different states to pursue the crown of the regional cultural center. Third, the domestic state policy plays a determinant role in the dynamic formation of a regional cultural market. Fourth, the political motivation and manipulation might not be easy to recognize but are influential powers forging the regional cultural market. For example, the Chinese Communist Party (CCP) proposed the China-Taiwan TV drama co-production policy near the end of 2007 in order to improve the prospects of Taiwan's pro-China party in the 2008 presidential election in Taiwan. In addition, it is not self-evident to assume that a regional cultural center definitely challenges the existing cultural dominance and that a regional cultural-linguistic market is emancipating. It requires careful examination to scrutinize the power relationships among those societies involved in the regional market to determine whether it increases the cultural diversity in this area. This research examines the power relationship in the Chinese cultural-linguistic TV market and argues the possible existence of dual suppression, in that a member of the regional cultural-linguistic market might simultaneously suffer from the dominance of the global center and the regional center. This research examined the historical development of idol drama in Taiwan and found that the Chinese censorship system has great impact on the production and distribution of cultural products in the Chinese cultural-linguistic TV market. Producers either tend to lower the potential risks by taking a conservative, non-historical approach to making TV drama, or, selling cultural products containing specific cultural odor, such as President Ma Ying-jeou's slogan, "Chinese culture with Taiwan characteristics (Ma, 2011.01.01)." Third, this research analyzes the production mode of idol drama in Taiwan and China from 2000 to 2012 and points out that the Taiwan TV industry has been moving on a dependency road through three phases, with four aspects of dependency. After 2005, some Taiwanese TV producers turned to the secondary export market due to the deepening neo-liberalism and the deteriorating Taiwan TV industry, which impedes its advancement in the regional market. In this stage, the emergence of the first wave of Taiwanese-made Chinese TV drama proved that the combination of the CCP's protectionist policy and a lucrative Chinese domestic market creates magnetic effects and attracts TV workers from the deteriorating region. In the second stage from 2008 to 2010, the CCP's cooptation policy, which encourages Taiwan-China co-produced TV drama, and the Kuomintang's China-centered CCI Policy emphasized the importance of the China market and strengthened the orientation to focus on the secondary export market rather than improve the quality of Taiwanese TV drama and aim at Asia and the global market. In 2010, the CCP denounced the phenomenon of "pseudo China-Taiwan co-produced TV drama," which was the byproduct of the strict Chinese censorship system, and issued a warning against it. It pushed some Taiwanese producers to abandon the Taiwan market and spurred the second wave of Taiwanese-made Chinese TV drama which appeals to Chinese audiences, and lowers or even closes the production business in Taiwan. This research demonstrates the four aspects of the dependency relationship in the Chinese cultural-linguistics TV market, which includes capital, export market, production chain, and cultural products flow. First, sufficient Chinese capital provides the CCP leverage to mold the Chinese cultural-linguistic TV market, purchase resources, and expand its influence into Taiwan society. Second, being the largest TV market in the world makes China an attractive export market, even with strict Chinese censorship. Third, the CCP's cooptation policy and the deteriorating Taiwan TV market gradually make Taiwan TV workers a supplement rather than a force in Chinese TV drama production. Fourth, the exportation of Chinese TV programs, including conventionally weak genres, into Taiwan is increasing. In short, the Taiwan TV industry has suffered from the dual crises of neo-liberalism and the dependency relationship with China, which is making Taiwan a dumping site for regional cultural product exporters, mainly from Korea, China, and Japan.
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Potter, Anna. "Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives". Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16016/1/Anna_Potter_Thesis.pdf.
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When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to
encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters.
It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which
is unable to fully fund its program output from local markets.
Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets.
With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through
their gate keeping roles.
My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached.
The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers.
Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a
competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels.
If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.
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Foo, Tee-Tuan. "Managing the Content of Malaysian Television Drama: Producers, Gatekeepers and the Barisan Nasional Government". Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1102522280.
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Potter, Anna. "Internationalising Australian Children's Television Drama: The Collision of Australian Cultural Policy and Global Market Imperatives". Queensland University of Technology, 2005. http://eprints.qut.edu.au/16016/.
Pełny tekst źródłaStreszczenie:
When considering the effects of cultural policy on international trade in television programming there is an area that is frequently overlooked, that of classification and censorship. The role that classification and censorship play as tools of cultural policy is poorly understood, as is their impact on the ease with which television programs can be traded. A broad definition of cultural policy has been used here, in order to encompass both its theoretical and practical elements. Cultural policy as expressed through television classification and censorship is seen here as having three layers. These layers are legislative policy such as local content quotas, the content gate keeping carried out by television producers prior to production, and program classification, that is the implementation of local programming codes by broadcasters. It is important to understand the effects of television regulatory regimes, including those that govern content classification, on the international trade in programs for two reasons. One is the precedence international economic agreements generally take over cultural policy, because classification and censorship can quietly undermine this precedence in a way which currently receives little attention. The second is the importance of the export market to the Australian television production industry, which is unable to fully fund its program output from local markets. Australian children's drama and its export to the UK are the focus of this research as this provides an excellent example of the current tensions between cultural policy and economic imperatives. Australian children's drama is tightly regulated through government policy, particularly the demands of the 'C' (children's) classification. It is argued here that the demands of current Australian cultural policy are making it extremely difficult for Australian producers to internationalise their product and thus cultivate a competitive advantage in international markets. With the advent of digital technology and the end of spectrum scarcity, the television landscape is changing rapidly. Australian producers of children's programming are facing commercial challenges that have been created by the proliferation of children's channels in the UK and particularly the popularity on those channels of American animation. While the need to cultivate a competitive advantage is pressing, Australian producers of children's programming are also having to accommodate the three layers of cultural policy described earlier, that is the demands of government policy regarding the 'C' classification, the local programming codes of their export market, in this case the United Kingdom, and their own internalised cultural values as expressed through their gate keeping roles. My Industry experience in a senior compliance role in the pay television industry led to an awareness of the impact of local classification procedures on international trade in programming and provided the initial starting point for this research. Through scholarly investigation and interviews with three key producers of Australian children's programs and a senior UK programmer, certain findings regarding the impact of regulatory regimes on the export of Australian children's programs have been reached. The key findings of this research are firstly, that the rationales and operations of national classification schemes seem to be fundamentally untouched by supranational trade agreements and arguably are able to act as restraints on international trade. Additionally, programs that do not conform to the societal values of the countries to which they are being exported, will not sell. Secondly, multi-channelling is having the unexpected effect of driving down prices achieved for children's programs which is a cause for concern, given the importance of international sales to Australian producers. Part of this decline in pricing may be attributed to the rise in popularity of inexpensive animation, which now dominates children's channels in the UK. Thirdly, this research finds that Australian cultural policy is preventing Australian producers cultivating a competitive advantage in international markets, by making demands regarding content and quality that render their programs less attractive to overseas channels. If the Australian government believes that certain culturally desirable forms of television such as high quality, children's programming should continue to exist, it may in future have to modify its cultural policy in order to attain this objective.
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Idrissi, Nizar. "Stephen Poliakoff: another icon of contemporary British drama". Doctoral thesis, Universite Libre de Bruxelles, 2008. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210559.
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This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Dawood, Rasha Ahmed Khairy Hafez. "Critical discourse within European plays in the first half of the twentieth century and the manifestations of a similar phenomenon in modern Egyptian drama". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15359.
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This thesis closely examines the utilisation of dramatic characters’ comments on matters of literary and theatrical criticism. This phenomenon shaped a trend in European theatre during the first half of the twentieth century, and Egyptian theatre in the second half of the century. My main hypotheses are, firstly, that dramatic characters’ comments on literary and theatrical matters of criticism respond to specific problems that challenge theatre practice. Thus, my reading of literary and theatrical criticism within the dramatic texts studied in my thesis focuses on this criticism’s reformative function to rectify the crisis that faces theatre practice in general, rather than playwrights’ individual motives, such as responding to their critics. Secondly, socio-political, economic, and cultural aspects shape historical circumstances, which influence the current state of the theatre industry. Therefore, although Egyptian plays are noticeably influenced by European metatheatre, Egyptian playwrights utilise these borrowed techniques to highlight specific problems of Egyptian theatre such as the corrupt administration of governmental theatre and censorship. Finally, while Egyptian plays exploit European metatheatrical techniques, Egyptian playwrights claimed their works as a revival of intrinsically anti-illusionist traditional forms of entertainment such as the shadow play and Karagöz. This claim reflected increasing calls for pure Egyptian theatre, as part of the anti-Western jingoistic discourse of the political regime of the 1950s. In order to examine these assumptions, my theoretical approach draws from the fields of metatheatrical studies; literary and performance studies of parody and intertextuality; the history of European and Egyptian theatre; sociological, political and cultural studies; theories of modern criticism, and critical reviews. My contribution to the field of metatheatrical studies is in highlighting the reformative function of literary and theatrical criticism, whether as a discourse or a metatheatrical device, within a group of European plays that belong to different movements of the avant-garde during the first half of the twentieth century. More significantly, my study investigates the same phenomenon in Egyptian plays that, since the 1980s, have gradually been marginalised as fringe theatre and neglected by academic studies.
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Julian, Thibaut. "L’Histoire de France en jeu dans le théâtre des Lumières et de la Révolution (1765-1806)". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040181.
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Le second dix-huitième siècle est marqué par une profonde reconfiguration du cadre politique qui se traduit par un essor concomitant de la critique publique et du patriotisme. Le théâtre participe au mouvement. Dans le sillage de Voltaire, des auteurs très divers s’emparent de l’Histoire de France, renouvelant les genres théâtraux et le rapport au spectacle. Aux pièces épiques ou sentimentales du « genre troubadour » s’ajoutent bientôt les anecdotes biographiques consacrées aux Grands Hommes, puis les « apothéoses dramatiques » et les « faits historiques » contemporains de la Révolution. Cet ensemble hétéroclite de pièces jouées sur des théâtres officiels, en société ou seulement diffusées par écrit, constitue ce que nous appelons le théâtre national des Lumières et de la Révolution. À travers l’étude des textes et de leur réception, nous analysons comment la représentation de l’Histoire de France participe aux transformations des mentalités, selon un effet de miroir passé-présent plus ou moins explicite. Aux enjeux esthétiques et dramaturgiques emblématiques de cette période charnière entre classicisme et romantisme, le théâtre national mêle des enjeux politiques et mémoriels : plus qu’un divertissement moral, il est conçu comme un dispositif civique. Il construit un patrimoine historique collectif avec des mythes et des légendes, mais les intentions idéologiques divergentes des auteurs et la participation active des publics en font un lieu de dissensus. Le théâtre national médiatise également les tensions de la société et recherche des émotions qui oscillent entre l’admiration, l’attendrissement, la déploration indignée et l’horreur face aux blessures du passéThe second half of the eighteenth-century is characterized by a thorough transformation of the political world, a change which reflected the simultaneous development of public criticism and patriotism. Theatre plays a key role in this process. Following Voltaire, a variety of playwrights use French history for their plots, and in so doing they update genres and audience expectations. Alongside epic or sentimental plays of the troubadour genre, bio-dramas of “Great Men” soon appeared, followed by dramatic apotheoses and the Revolution’s “faits historiques”. This varied corpus of plays – performed ¬ or not, on official or private stages – constitutes what we may call the national drama of the Enlightenment and the French Revolution.By studying these texts and their reception, I analyse how the theatrical representation of French history and its ability to act as a mirror between the past and the present contribute to the contemporary changes in thought. National drama not only showcases the esthetical and dramaturgic debates of this turning point between classicism and romanticism, but it additionally implicates issues of politics and memory: it is more than simple moral entertainment, it has civic value. These productions create a collective historical heritage with its own myths and legends, but the playwrights’ contradictory ideological intentions and the audiences’ active participation also make this theatre a site of dissent. National drama also expresses contemporary social strains and seeks to evoke specific emotions such as admiration, empathy, outrage and horror in the face of the past’s wounds
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De, Santis Vincenzo. "Le dramaturge dissident. Le théâtre de Louis Lemercier entre Lumières et Romantisme (suivi de l’édition critique d’Agamemnon et Pinto, ou la journée d’une conspiration)". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040039.
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La production dramatique de Jean-François-Louis-Népomucène Lemercier s’inscrit justement dans ce moment de transition entre ce que l’on a appelé Néoclassicisme et le Romantisme. Né en 1771 et mort en 1840, cet homme de lettres et académicien a assisté aux bouleversements qui ont caractérisé l’histoire de France du tournant des Lumières jusqu’à la Révolution de Juillet et même après. L’étendue de sa vie et surtout de son activité de dramaturge dépassent donc amplement ce « long dix-huitième siècle » que l’histoire littéraire tend à prolonger jusqu’en 1820. Ce travail s’intéresse donc à la production d’un dramaturge qui, dans son ambigüité intrinsèque, s’avère à plusieurs égards révélatrice d’une ambigüité caractérisant de manière plus générale l’ensemble de cette période de transition. Auteur de celle que l’on retient souvent comme la dernière tragédie classique – c’est le cas de son Agamemnon de 1797 – Lemercier est également considéré, déjà à partir du dix-neuvième siècle et notamment par Schlegel, comme l’un des premiers auteurs proprement romantiques, son Pinto de 1800 étant justement une protoforme de drame romantique. Ce travail se compose de deux grandes parties, la première consistant en une étude monographique sur l’ensemble de la production dramatique de Lemercier, la deuxième en une édition critique des œuvres majeures du dramaturge, son Agamemnon, qui représente un de plus grands succès tragiques de la période directoriale dont les reprises continuent jusqu’en 1826, et Pinto, une « comédie historique » qui fut en revanche un succès de scandale lors de sa création à la Comédie-Française et qui encourût par la suite la désapprobation de cinq régimes politiquesThe dramatic productions of Jean-François-Louis Népomucène Lemercier (1771-1840) reveal a transition between Neoclassicism, Preromanticism and Romanticism. This writer and academician witnessed the political and social upheavals that characterized France from the twilight of the Enlightenment until the July Revolution and thereafter. The span of his life and works amply exceeds the "long Eighteenth Century" that literary historians have extended to 1820 (Claude Pichois). This dissertation includes two main parts: a monographic study of Lemercier’s dramatic production and a critical edition of the playwright’s major works, Agamemnon (1797), one of the most successful tragedies during the “Directoire” and to 1826; and Pinto, a “historical comedy” composed between 1798 and 1800, and which was seen as a “romantic” triumph in 1834. Lemercier has often been regarded as the author of one of the last classical tragedies (Agamemnon i.e.); nevertheless, in spite of being, at times, one of Romanticism’s fiercest detractors, he emerges in Nineteenth century criticism – and above all in Schlegel’s writings – as one of the most influential pioneers of romantic drama. The intrinsic ambiguity of Lemercier’s dramatic production reveals the uncertainties of this transitional age. This ambiguity thus demands a holistic approach: the context of Lemercier’s literary works will be analyzed from an esthetic, historical and political point of view, emphasizing their intricate relationships with literary and political authorities and censorship issues throughout the period
La produzione drammatica di Jean-François-Louis Népomucène Lemercier si inserisce in quel momento di transizione tra Neoclassicismo, Preromanticismo e Romanticismo che caratterizza gli ultimi anni del Diciottesimo e il primo trentennio del Diciannovesimo secolo. Nato nel 1771 e morto nel 1840, questo scrittore e accademico ha assistito agli sconvolgimenti che hanno caratterizzato la storia della Francia dal tournant des Lumières fino alla Rivoluzione di Luglio e anche oltre. La sua vita e la sua attività poetica oltrepassano ampiamente il “lungo Settecento” che la storia letteraria tende ad estendere sino al 1820 già a partire dalla periodizzazione proposta da Claude Pichois. Questo lavoro si concentra sulla produzione di un autore che, nella sua intrinseca ambiguità, è sotto molti aspetti indicativa di un’indeterminatezza che caratterizza più in generale questo periodo di transizione estetico-letteraria. Spesso considerato, in primis da Madame de Stael, come l’autore dell’ultima tragedia classica - è il caso di Agamemnon del 1797 - Lemercier è stato visto, già a partire dal XIX secolo e in particolare da Schlegel, come uno dei primi autori di drammi romantici, di cui Pinto, ou la journée d’une conspiration (1800) rappresenterebbe una protoforma. Il presente lavoro, che si focalizza sul macrotesto teatrale di Lemercier senza tuttavia negligere altri aspetti della sua variegata opera, consta essenzialmente di due sezioni, una dedicata allo studio del macrotesto teatrale dell’autore, con un’attenzione particolare al contesto-storico letterario e alla ricezione; l’altra all’edizione di due opere, Agamemnon e Pinto, che rappresentano per molti aspetti due degli esempi più significativi della sua produzione drammatica. Il rapporto conflittuale di Lemercier con l’autorità politica e con la nascente “scuola” romantica saranno inoltre oggetto di questa riflessione
Książki na temat "Censorship – drama"
1
The censorship of British drama, 1900-1968. Exeter, UK: University of Exeter Press, 2003.
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Henry E. Huntington Library and Art Gallery. Eighteenth century drama: Censorship, society and the stage. Marlborough, Wiltshire, UK]: Adam Matthew, 2016.
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Banned plays: Censorship histories of 125 stage dramas. New York: Facts on File, 2003.
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Scotland), Traverse Theatre (Edinburgh, red. Reader. London: Nick Hern Books, 1995.
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Zhirkov, G. V. Predsmertnai︠a︡ t︠s︡enzurnai︠a︡ nedeli︠a︡ L.N. Tolstogo: Astapovskai︠a︡ drama. Sankt-Peterburg: Filologicheskiĭ fakulʹtet SPbGU, 2011.
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Pöllinger, Andreas. Der Zensurprozess um Paul Heyses Drama "Maria von Magdala" (1901-1903): Ein Beispiel für die Theaterzensur im Wilhelminischen Preussen. Frankfurt am Main: P. Lang, 1989.
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Dutton, Richard. Mastering the revels: The regulations and censorship of English Renaissance drama. London: Macmillan, 1991.
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Dutton, Richard. Mastering the revels: The regulation and censorship of English Renaissance drama. Iowa City: University of Iowa Press, 1991.
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Dutton, Richard. Mastering the revels: The regulation and censorship of English Renaissance drama. London: Macmillan, 1991.
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Downey, Katherine Brown. Perverse Midrash: Oscar Wilde, André Gide, and censorship of biblical drama. New York: Continuum, 2004.
Znajdź pełny tekst źródłaCzęści książek na temat "Censorship – drama"
1
Dutton, Richard. "Theatrical License and Censorship". W A New Companion to Renaissance Drama, 225–38. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch17.
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Dutton, Richard. "The Regulation and Censorship of Early Modern Drama". W Licensing, Censorship and Authorship in Early Modern England, 1–15. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230598713_1.
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Bhatia, Nandi. "Censorship, Social Reform, and Mythological Drama in Colonial India". W Religion in Literature and Film in South Asia, 191–211. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105522_10.
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Peters, Julie Stone. "Performing obscene modernism: Theatrical censorship and the making of modern drama". W Against Theatre, 206–30. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230289086_12.
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Van Bruaene, Anne-Laure. "State of Play. Rhetorician Drama and the Ambiguities of Censorship in the Early Modern Low Countries". W Studies in European Urban History (1100-1800), 295–308. Turnhout: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.seuh-eb.5.114013.
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Schramm, Jan-Melissa. "Censorship and Sacred Drama". W Censorship and the Representation of the Sacred in Nineteenth-Century England, 13–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198826064.003.0001.
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The programme of entertainment on offer on the English public stage at the dawn of the nineteenth century was notably secular. The cumulative effect of Tudor injunctions, early modern legislation, and Protestant taste had been to banish the representation of scriptural subjects from the stage. This regulatory framework was underpinned by anti-theatrical anxieties and prejudices popularized and seemingly confirmed by the Reformation, which continued to be felt into the nineteenth century. Indeed, the enactment of the Catholic Relief Act in 1829 and the subsequent return of Catholicism to a position of public and artistic prominence at mid-century seems to have enhanced Victorian concern about the potentially deleterious effects of Catholic materialism and visual art. The composition and regulation of sacred drama serve as a test case, then, to probe and expose nineteenth-century anxieties about the form in which apprehensions of God could legitimately be expressed.
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Naithani, Sadhana. "The Drama Begins". W Folklore in Baltic History, 23–34. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496823564.003.0003.
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This chapter is about the start of the Soviet occupation of the Baltic countries after WWII in 1945. The escape of folklorists, the censorship of folklore archives and the new rules and regulations that were to define the life and scholarship henceforth.
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Mortimer, John. "Television Drama, Censorship and the Truth". W Television Policy, 71–78. Edinburgh University Press, 2005. http://dx.doi.org/10.3366/edinburgh/9780748617173.003.0006.
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Mortimer, John. "Television Drama, Censorship and the Truth". W Television Policy, 71–78. Edinburgh University Press, 2005. http://dx.doi.org/10.1515/9781474468268-008.
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"Chapter Six. Satire, Drama, and Censorship". W The Clerical Proletariat and the Resurgence of Medieval English Poetry, 218–60. University of Pennsylvania Press, 2021. http://dx.doi.org/10.9783/9780812298017-009.
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