Gotowe bibliografie tematyczne / Italian language Drama

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Gotowa bibliografia na temat „Italian language Drama”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Italian language Drama"

Kanev, A. I. "HANDEL's OPERAS: LITERARY SOURCES, STRUCTURE, LIBRETTO LANGUAGE". Bulletin of Udmurt University. Series History and Philology 29, nr 3 (25.06.2019): 517–23. http://dx.doi.org/10.35634/2412-9534-2019-29-3-517-523.

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This article studies thirteen Italian libretti of music dramas that were staged with Handel's music in the first half of the XVIII century. The libretti texts were written by a range of authors such as N. F. Haym, A. Salvi, P. Rolli, A. Zeno, V. Grimani, A. Hill, G. Rossi, N. Minato, A. Piovene. The majority of stories are based on famous Italian and French literary pieces. The article looks at literary and linguistic aspects of libretti. The literary components are the problem of primary sources, plot features and their transformations, drama structure and texts form. The linguistic components are rare verb forms, syntactical and lexical features of libretti. Attention is paid to the sound organisation of the texts - euphonia. Examples are drawn of the usage of alliteration and assonance.

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Piazzoli, Erika. "Engage or Entertain? The Nature of Teacher/Participant Collaboration in Process Drama for Additional Language Teaching". Scenario: A Journal of Performative Teaching, Learning, Research VI, nr 2 (1.07.2012): 28–46. http://dx.doi.org/10.33178/scenario.6.2.5.

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This paper was presented at the conference ‘Plot me no plots: Theatre for University Language teaching’ held at the University of Padua in October 2011. The presentation included a practical demonstration of the teacher-in-role strategy and a discussion. Process drama is an experiential approach that has been gaining momentum in the field of language teaching; it is a genre of applied theatre in which the participants, together with the facilitator, engage in the co-construction of a story. As an improvised dramatic form, it encourages negotiation of meaning through the process of experience and reflection. In this article, I reflect on the nature of the collaborative process between teacher and participants in process drama, drawing on my doctoral research on the aesthetics of process drama for teaching additional languages. In this research, I worked with three cohorts of adult language learners, studying Italian as a Second Language (L2), and three cohorts of teachers of Italian (L2) new to drama. I draw on classroom data to illustrate two of the main dramatic strategies of the form: ‘teacher-in-role’ and ‘mantle of the expert’. I introduce these strategies, situate them in a theoretical context and discuss issues and implications when teaching to engage, rather than to entertain.

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Piazzoli, Erika, i Claire Kennedy. "Drama: Threat or Opportunity? Managing the ‘Dual Affect’ in Process Drama". Scenario: A Journal of Performative Teaching, Learning, Research VIII, nr 1 (1.01.2014): 52–68. http://dx.doi.org/10.33178/scenario.8.1.5.

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In this paper we discuss the construct of ‘dual affect’ and its relevance to drama pedagogy in a foreign language teaching context. We draw on a research project involving a group of advanced learners of Italian using drama-based strategies. We begin with a theoretical discussion of dual affect, aesthetic distance, and protection mechanisms in the drama/language classroom. Next, we contextualise the research study and analyse student-participants’ responses in selected moments of the drama. The analysis suggests that, while some student-participants experienced the dual affect of drama as a threat, others found it a stimulus for reflection and a challenge. We argue that this may have had an impact on their perceived learning outcomes and on their willingness to communicate in the target language. We take this opportunity to reflect on the importance of managing dual affect in the process drama classroom, especially when working with advanced language students who have no prior experience in drama-based pedagogy.

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Fonio, Filippo, i Geneviève Genicot. "The compatibility of drama language teaching and CEFR objectives – observations on a rationale for an artistic approach to foreign language teaching at an academic level". Scenario: A Journal of Performative Teaching, Learning, Research V, nr 2 (1.07.2011): 75–89. http://dx.doi.org/10.33178/scenario.5.2.6.

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The elaboration of the rationale proposed here finds its roots in an examination of the CEFR (Common European Framework of Reference for Languages) parameters. We are notably interested in highlighting the importance of artistic practice – and in particular of drama performance – in the context of foreign language learning. We are thus proposing here considerations concerned with the estimation of artistic practice as a specific way of teaching and learning foreign languages. Our usual target group consists of Bachelor and Master students interested in learning Italian through drama techniques but whose subject is not primarily Modern Languages (non-specialist students). By proposing a set of standard skills that match CEFR parameters with artistic pedagogy training, we intend to promote valuable criteria for teachers, learners and examiners in order to promote language learning through artistic practice syllabi.

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De Martino, Alessandra. "DIDATTICA TEATRALE E APPRENDIMENTO DELL'ITALIANO COME LINGUA STRANIERA". Revista Internacional de Culturas y Literaturas 19, nr 19 (2016): 237–48. http://dx.doi.org/10.12795/ricl.2016.i19.20.

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Dalziel, Fiona, i Erika Piazzoli. "“It comes from you”: Agency in adult asylum seekers’ language learning through Process Drama". Language Learning in Higher Education 9, nr 1 (26.07.2019): 7–32. http://dx.doi.org/10.1515/cercles-2019-0001.

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Abstract In this paper, we present a study of adult asylum seekers learning Italian as a Second Language through Process Drama. Adopting an ecology of language approach, we first set the scene by examining some of the most salient issues regarding the language learning needs of asylum seekers and refugees, including the challenge of fostering both language proficiency and a sense of autonomy and agency. We then introduce the topic of performative, or drama-based pedagogy, focussing on how this has been adopted for second-language learning, presenting the main features of Process Drama. We go on to evaluate a number of drama-based projects aimed specifically at adult asylum seekers and refugees before presenting the specific context of this study. The Process Drama sessions, organised in the 2016/2107 year, were part of a project called “Cultura e Accoglienza”, which allowed for the enrolment of 30 asylum seekers as “guest students” at the University of Padova in Northern Italy. In particular, we look at one of the Process Drama sessions, in which the participants became members of an association of community workers welcoming migrants, and the teacher took on the role of the asylum seeker. Through the dramatic frame, we, as facilitators, drew on the learners’ expertise in settling into the Italian culture, and in welcoming new arrivals. Our aim was that of using ‘time’, ‘place’ and ‘role reversal’ as distancing devices to challenge the notion of ‘otherness’. The analysis from videos, focus groups and teacher journals suggests that the drama gave participants the chance to shift perspective, and that this impacted on their sense of agency as second language learners.

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Jordan, Peter E. R. "Second Language Acquisition And Linguistic Freedom Through Drama". English Review: Journal of English Education 4, nr 1 (1.12.2015): 15. http://dx.doi.org/10.25134/erjee.v4i1.312.

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The important part played by drama in second language acquisition has long been appreciated. An active and inter-active teaching environment facilitates learning in a number of ways, by motivating and sustaining attention, as well as offering a secure environment for experimentation. Drama offers students a pro-active approach to learning, promoting a collective feeling of being in a shared enterprise. This paper discusses how drama can make a significant contribution to second language acquisition. In particular, I focus on the techniques of the Italian Commedia dell’Arte, the first truly professional theatre form to emerge in Europe in the mid-sixteenth century. Its core elements of improvisation and mask are highly effective tools in language learning, empowering students and allowing them to take ownership of the unfamiliar. Improvisation provides a dramatically engaging forum for experimentation that can help to overcome cognitive blocks and prioritise communication as the ultimate imperative. Masks which leave the mouth free for speech can help students overcome the natural inhibitions that often come with attempts to express oneself in an unfamiliar linguistic code.Keywords: language acquisition, drama, improvisation, mask

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Troiani, Sara. "Ettore Romagnoli traduttore delle Baccanti". Greek and Roman Musical Studies 10, nr 1 (7.03.2022): 189–216. http://dx.doi.org/10.1163/22129758-bja10037.

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Abstract At the beginning of the Twentieth Century the Italian philologist Ettore Romagnoli popularised ancient classical culture through his work as translator and director of performances of Greek and Roman dramas. In his plays he attempted to reproduce the unity of the arts that belonged to the mousikē technē and to achieve a modern recreation of ancient sounds and rhythms. The paper aims to analyse the translation of Euripides’ Bacchae by Romagnoli (1912), comparing it with his studies on Greek music and tragedy and with operas. On the one hand, Romagnoli’s translation in Italian verses is based on the musicological theories about the close relationship between music and metrics in ancient Greek poetry; on the other, the adoption of operatic language to translate specific lines of Euripides’ drama is probably oriented to the Italian audience, which would have recognised conventional expressions from the libretti or from famous arias.

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Piazzoli, Erika C. "Reflection-in-action in cross-language qualitative research". Qualitative Research Journal 15, nr 1 (2.02.2015): 74–85. http://dx.doi.org/10.1108/qrj-10-2013-0059.

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Purpose – The purpose of this paper is to reflect on reflective practice as a qualitative methodology, and reflection-in-action as a modus operandi to engage with the artistry of cross-language qualitative research. Design/methodology/approach – The author draws on the doctoral research, a cross-language multiple case study aimed at investigating the author’s evolving understanding, as a reflective practitioner, of drama-based pedagogy for teaching Italian as a second language. Findings – A reflective analysis of the author’s tacit decision making during drama improvisation unveiled a clash between covert beliefs and overt attitudes in the author’s practice. In this paper, the author examine this process and highlight the value of translingual writing (writing in two languages) as a method of enquiry that allowed me to become aware of this clash. Research limitations/implications – A limitation of this research is that the nature of this clash of beliefs is confined to the idiosyncrasy of one practitioner. However, the methodological implications are relevant to cross-language qualitative researchers fluent in two (or more) languages. Frequently, translingual researchers focus all writing efforts in one language only, because of the absence of methodological guidelines bridging cross-language research, reflective practice and translingual studies. Practical implications – Strategies to investigate awareness of tacit beliefs in educational practice may help other second language/drama reflective practitioners to better understand their knowing in-action. Originality/value – This paper represents a first step in disseminating knowledge about translingual writing as method, and is of value to all those translingual researchers who are interested in reflective methodologies.

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Bora, Simona Floare. "Exploring learners’ perceptions towards collaborative work through drama in foreign language learning: A view from a mandatory Italian high-school curriculum". Scenario: A Journal for Performative Teaching, Learning, Research XIII, nr 2 (10.12.2019): 171–86. http://dx.doi.org/10.33178/scenario.13.2.11.

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This article focuses on learners’ perceptions related to the collaborative work through a drama project undertaken as part of a rather rigid high-school mandatory curriculum. The project aimed to offer a dynamic and safe learning environment in which learners could acquire language in an interactive and collaborative way and to help the learners to develop their oral skills and increase their motivation towards learning a foreign language. A class of final year Italian students (n=10) with a level of language ranging from low intermediate to upper intermediate took part in the drama classes which were implemented longitudinally over two academic terms (20 weeks): self-standing play excerpts combined with drama games in the second term followed by a full-scale performance of a single play in the third term. Data were collected through a semi-structured questionnaire, follow-up interviews and researcher’s field notes. Findings revealed that learners perceived that collaboration and interaction through drama were important elements for promoting a positive attitude towards learning a foreign language and their oral production despite the challenges that a full-scale production may pose when subjected to the various constraints of time and the syllabus requirements of a compulsory curriculum.

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Rozprawy doktorskie na temat "Italian language Drama"

Nessi, Erika <1991&gt. "Didactic plays: teaching Italian as a second language through drama texts". Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10596.

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Teaching Italian as a second language using drama texts as the main didactic tool stimulates learners' emotional and motivational involvement. The aim of this project is to develop a didactic methodology that is able to trigger learners' emotions and sustain their initial motivation, thus resulting in a better and more stable mnemonic retention of the linguistic input. The 1st chapter provides an overview of the neuroscientifical specifics of the acquisitional and memory process and of the main theories of motivation. The 2nd chapter discusses the features, aims and techniques of teaching Italian as a second language through drama texts, as well as its strengths and weaknesses, in the frame of humanistic-affective studies. The 3rd chapter stresses the importance of outlining the learner's profile, a table of the student's multiple intelligences, motivational drivers, cognitive and learning styles and main characteristics of his/her interlanguage. Ultimately, the last part describes a project of teaching Italian as a second language using didactically-adapted plays experimented in a multicultural class of adult learners.

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Slaney, Helen. "Language and the body in the performance reception of Senecan tragedy". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:72f9cf38-6e9c-40a1-b387-12a754e4d0ea.

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Seneca’s contribution to the development of Western European theatre and conceptions of theatricality has been underestimated in comparison to that of Greek tragedy. This thesis argues for the continuous importance of Senecan drama in theatrical theory and practice from the sixteenth century until the present day. It examines significant instances of Seneca in performance, and shows how these draw on particular aspects of Seneca’s style and dramaturgical technique to coalesce into a sub-genre of tragedy termed here ‘hypertragedy’ or the ‘senecan aesthetic’. The underlying premise of this representational mode is that verbal (vocal) performance is a physical act and induces physical responses. This entails the consequential inference that Senecan theatre is not mimetic – that is, based on an isomorphic identification of character with performer – but rather affective; like oratory, it functions through direct, quasi-musical manipulation of the auditor’s senses. The goal of this theatrical form is to articulate extreme states of mind or experiences which cannot be conveyed via conventional mimetic means: pain, frenzy, dissolution of the self. In tracing the theories of tragedy which comprise a narrative contrapuntal to the reception of Seneca onstage, it is possible to identify the factors which have successively constructed, promoted, suppressed, reviled and finally reinstated the senecan aesthetic as philhellenism’s other.

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Książki na temat "Italian language Drama"

Ariosto, Lodovico. La Cassaria in versi. Firenze: F. Cesati, 2005.

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Serena, Bassano, Montarese Mauro i Museo-Archivio Gilberto Govi, red. Il teatro di Govi 2: 4 commedie di successo. Genova: Erga, 1998.

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1960-, Severi Alberto, red. Novelli vague: Nuova drammaturgia in lingua toscana fra tradizione e discontinuità. Corazzano (Pisa): Titivillus, 2007.

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Bertolino, Remigio. La barca d'òr. Torino: Centro studi piemontesi, 2002.

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Barile, Oscar. La giòstra a pé'nt ël cul / Oscar Barile . La sposa dël tecc ross / Remigio Bertolino . La cla dla rol / Antonio Borghese . Ciau pais. Torino: Centro studi piemontesi, 2004.

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Oscar, Barile, red. La giòstra a pé 'nt ël cul. Torino: Centro studi piemontesi, 2004.

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Bianca, Dorato, Calissano Ines, Bodrìe Tòni 1921-, Sivera Vittorio i Barile Oscar, red. Ij Milan / Bianca Dorato. Cola neuit an montagna / Ines Calissano. Magalì, ël doss bergé =: Lou douç bergièr : due tempi con musiche e balletto / Antonio Bodrero, Vittorio Sivera. Mè frel : comedia an doi at / Oscar Barile. Torino: Regione Piemonte, 1999.

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Grosso, Marco. Esse e pa parësse: Misteriose imprèise e misteriose aparission, sparission e arcomparsa dl'arnomà Lucio Dla Venaria. Torino: Centro studi piemontesi = Ca dë studi piemontèis, 2007.

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Bellonci, Maria. Delitto di Stato. Milano: Oscar Mondadori, 2002.

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Giuseppe, Ferrazza, i Petroni Paolo, red. Le lingue italiane del teatro. Roma: Gremese, 2007.

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Części książek na temat "Italian language Drama"

Carlson, Marvin. "1. The Italian Romantic Drama in Its European Context". W Comparative History of Literatures in European Languages, 233. Amsterdam: John Benjamins Publishing Company, 1993. http://dx.doi.org/10.1075/chlel.ix.16car.

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"‘At the cubiculo’: Shakespeare’s Problems with Italian Language and Culture". W Italian Culture in the Drama of Shakespeare and His Contemporaries, 115–26. Routledge, 2016. http://dx.doi.org/10.4324/9781315251707-18.

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Sorba, Carlotta. "‘Comunicare con il popolo’: Novel, Drama, and Music in Mazzini’s Work". W Giuseppe Mazzini and the Globalization of Democratic Nationalism, 1830-1920. British Academy, 2008. http://dx.doi.org/10.5871/bacad/9780197264317.003.0005.

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This chapter observes and relocates the role of the arts in Mazzini's political reflections, seeing in it a kind of prelude to the aesthetic dimension of politics generally explored in the 20th century. Through a close analysis of his large output of literary and musical criticism (1826–44), it shows how the language of the arts, and especially drama as ‘the social art par excellence’, was considered by the Italian thinker to be the main means to communicate to the public – in a forceful and emotional way – political and national goals. Mazzini believed that, in the specific case of Italy, opera, with its active power to move, thrill, and provoke enthusiasm in Italian theatres, could play a crucial political role.

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Costa, Francesca. "Training the BE Trainee Teacher in Drama". W Advances in Early Childhood and K-12 Education, 379–92. IGI Global, 2023. http://dx.doi.org/10.4018/978-1-6684-6179-2.ch016.

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This paper presents a teacher training experience for bilingual education (BE) using drama activities and techniques within a university degree in primary education. Many studies have underlined the similarities between teachers and actors, seeing teachers as performers, especially in regard to the correct and effective use of the voice, body language, and involvement of the audience. The type of training described here has a twofold objective: to make trainee-teachers participate as learners of drama techniques, and to help them use these techniques with their pupils. This paper will investigate studies on teacher training and BE and on BE and drama, describe the Italian context, and show the activities carried out in the teacher training. It will also analyze the script of a science play in English from a lexical point of view and show one of the lesson plans produced by the trainees. This study is theoretical-descriptive and has no research-based aims.

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Fattore-Olson, Antonella Del. "CHAPTER 10. Community, Culture, and Body Language: Staging the Female Voice in the Italian Drama Workshop". W Set the Stage!, 267–90. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300152753-014.

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Faleschini Lerner, Giovanna. "No Longer Guests: G2 Filmmakers and Their Stories". W Women and Migration in Contemporary Italian Cinema, 127–56. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781802077216.003.0006.

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This chapter explores the different discourses of presence and belonging that have emerged from first- and second-generation migrant directors, writers, and performers during the last twenty years. It focuses on the shift that these film practitioners have made possible, from a focus on the migrant journey to stories about integration and new Italian identities. These directors experiment with different audiovisual genres, from the drama to the romantic comedy, from documentary film to video art, web and television series. By using these alternative forms, they do not only assert their authority over narratives of displacement, but also push the boundaries of cinematic explorations of migration. Whereas most of the films by Italian-born filmmakers emphasize the experience of the migration journey and arrival, and rarely consider the long-term experiences of those who decide to resettle permanently in Italy, migrant and G2 filmmakers engage with broader issues of integration, cultural hybridity, plurilingual practices in immigrant families and communities, or generational and gender conflicts. The discourse of hospitality that permeates the films of non-migrant filmmakers is rejected in favour of an exploration of new, hybrid forms of identity and belonging. Through their work, G2 filmmakers propose transcultural, translinguistic, and transnational definitions of Italian identity, which disrupt the identitarian hierarchies implicit in the language of hospitality. By visualizing new ways of being Italian, these filmmakers claim for their migrant characters the right to be at home.

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Berthoz, Alain. "The brain as emulator and generator of strategies: the vagabond thought". W Emotion and Reason, 251–78. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780198566267.003.0013.

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Abstract Action and the sentient body, which construct the perceived world based on our desires, goals, and fears, are at the heart of the mechanisms of decision making, more than language and reason. Or rather, it is the language of the sentient body in its dialogue with the world that remains to be discovered: the gesture of thought. The role of space in the dynamic architecture of thought is also largely unknown. The Italian Renaissance placed at the centre of the world the new man and his freedom, his capacity to choose and to decide, to find several solutions to the same problem with no boundary conditions. This spirit is asserted in the interplay between softness and drama—each triumphing in turn—in the art of Fra Angelico and Donatello.

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Di Maio, Fabrizio. "Process drama and theatre in the learning of Italian. The case of ‘I Promessi sposi di Birmingham, un “romanzo criminale”’". W Innovative language teaching and learning at university: a look at new trends, 45–51. Research-publishing.net, 2019. http://dx.doi.org/10.14705/rpnet.2019.32.901.

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Howard, Patricia. "Iphigénie en Aulide (1772–1774)". W Gluck, 102–20. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198163855.003.0012.

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Abstract The honour which is due to you, monsieur, on account of your very distinguished abilities, and your reputation for integrity, with which I am familiar, have persuaded me to undertake to write to you to inform you that the celebrated M. Glouch, famous throughout Europe, has composed a French opera which he would like to have performed on the Parisian stage. After having written more than forty Italian operas, which have enjoyed the greatest success in all the theatres where that language is in usage, this great man has become convinced, by a close reading of authors ancient and modern, and by profound reflection on his art, that in their theatrical compositions, the Italians have strayed from the true path, that the French genre is the true genre of music drama, and that if it has not yet been perfected, it is not the acknowledged talents of French musicians which are to blame, but rather the authors of the poems, who, ignorant of the scope of musical style, have in their librettos preferred wit to feeling, gallantry to the passions, and restraint and the refinements of versification to pathos in style and situation.

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Stenport, Anna Westerstahl, i Arne Lunde. "The Serpent’s Egg: Ingmar Bergman’s Exilic Elsewheres in 1970s New German and New Hollywood Cinema". W Nordic Film Cultures and Cinemas of Elsewhere, 341–59. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0026.

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This chapter focuses on Ingmar Bergman’s historical drama The Serpent’s Egg (1977), made in West Germany during the director’s 5-year self-imposed exile over a tax scandal in Sweden. Set during the hyper-inflationary Weimar Berlin of the early 1920s, the film retells in an expressionist mode the rise of German Nazism. Produced by Italian-born film mogul Dino DeLaurentiis and filmed on set in Munich with an international cast, The Serpent’s Egg was meant to provide an English-language European art film for American audiences, situating Bergman for Hollywood exposure. It simultaneously engaged with a silenced, repressed part of German history that New German Cinema directors had not yet begun to address by the mid-1970s. The massive exterior sets were re-used for Rainer Werner Fassbinder’s Berlin Alexanderplatz (1980) and served a central role in that episodic TV-miniseries. Thus The Serpent’s Egg becomes not only an ‘elsewhere’ of Bergman’s production and New German Cinema, but also of New Hollywood.

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