Literatura científica selecionada sobre o tema "Drama – 20th century – bibliography"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Consulte a lista de atuais artigos, livros, teses, anais de congressos e outras fontes científicas relevantes para o tema "Drama – 20th century – bibliography".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Artigos de revistas sobre o assunto "Drama – 20th century – bibliography"
1
Kim, Soo-young, Jeongwoo Song, Juhee Ham e Ruiqing Qui. "Translation and Annotation of Chunhyangjeon writtenby Yeo Gyu-hyeong". Daedong Hanmun Association 78 (30 de março de 2024): 289–398. http://dx.doi.org/10.21794/ddhm.2024.78.289.
Texto completo da fonteResumo:
In the early 20th century, Yeo Gyu-hyeong was commissioned by the Wongaksa(圓覺社) to create the drama Chunhyangjeon written in Classical Chinese. Yeo Gyu-hyeong's Chunhyangjeon is a unique text that shows the contemporary changes in pansori literature and has points worthy of further discussion in several adjacent academic fields. Nonetheless, a complete translation of this work has not yet been done. Therefore this paper preliminarily examined the bibliographic characteristics and genre of Yeo Gyu-hyeong's Chunhyangjeon and performed punctuation, translation, and commentary on the entire text.
2
Poliakova, Yu Yu. "Researches of Kharkiv’s Theater Culture of the 19th and the first half of the 20th cc.: Problems of Historiography". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, n.º 51 (3 de outubro de 2018): 142–63. http://dx.doi.org/10.34064/khnum1-51.08.
Texto completo da fonteResumo:
Background. Recently, specialists in drama studies have displayed growing interest to the problems of historiography concerning theaters. One of its most urgent tasks is to reveal just how much the scientific approach is applied to creating a historical paper. This goes hand in glove with studies into sociopolitical and scientific worldview of authors of the researches, the sources used, the interpretation of facts as well as the style of material’s presentation. Objectives, methods and materials of the research. The purpose of this study is to outline the circle of the most important sources, which contain the data on the history of theater in Kharkiv; to characterize their authors; to define the degree of their mastering of accessible information while writing books and articles on various periods in the development of theater culture in this city in the 19th c.; to establish the main challenges to researchers they have to face under modern conditions. In this study, the author has chosen to apply the traditional cultural-historic method of research. It generally consists of collecting primary information on a certain phenomenon or a prominent figure, working it out, finding its correlation with appropriate historic events, and then making an attempt to substantiate the meaning and importance of the phenomenon / figure studied, in the context of the development of arts in the region. The article based on memoirs, archive materials, periodic publications (containing articles on the activities of theater companies, theatrical managers, actors etc.) and literature on the history of drama as well as general publications, which include items on the theater life in the city. Due to the lack of an entire elaborated bibliographic system, researchers have to engage themselves in painstaking browsing through the entire corpus of periodicals. In Kharkiv, the main sources of relevant information are such periodicals as the “Ukrainskiy vestnik” magazine (1816–1819) and some newspapers: “Kharkovskie gubernskie vedomosti” (1838–1915), “Yuzhnyy kray” (1880–1919), “Utro” (1906–1916), Kharkov (1877–1880), Kharkovskiy listok (1898–1905) and more. Results. The former newspaper “Kharkovskie gubernskie vedomosti” published, in 1841, the essay “Theater in Kharkov” by dramatist and a prominent public figure Hryhoriy Kvitka-Osnov’yanenko (1778–1843), who described the very first period in the history of theater in Kharkiv (1780–1816). In the 1870s, the “Kharkovskie gubernskie vedomosti” started to publish regularly analytical and summarizing articles, which were an attempt at creating theater’s history of a certain period. There was, for one, an article “The Kharkov Drama Theater in Recent Ten Years” by Ivan Ustinov, published in 1877 and dedicated to the 10th anniversary of the Diukovs’ private theater company. I. Ustinov not only gave a brief analysis of the theater’s repertoire between 1867 and 1877, but also included biographies and short characteristics of the actors, which were playing then on Kharkiv stage. Ustinov also is famous as the compiler of the bibliographic index “The Books on Kharkov Governorate” (1886), with certain information on the history of theater in this city. In the 1880s, Konstantin Schelkov, a graduate of the Kharkiv University’s Law School, wrote his articles on the theater in the “Kharkovskie gubernskie vedomosti”. The newspaper published, among others, his article “Materials for the History of Theater in Kharkiv” (1881), in which he described the activities of the theater’s management headed by N. D. Alferaki in 1845–1848. In the early 1880s, another big newspaper, the “Yuzhnyy kray”, was started. Its columnist Nikolay Chernyaev took a great interest in the history of theater in Kharkiv. Mr. Chernyaev’s works include a systematic review of theater culture in Kharkiv from Catherine II epoch until 1843 as well as a number of essays on the development of theater in Kharkiv up to 1880. The author collected wide documentary material dedicated to specific periods of history as well as to certain artistic figures. Chernyaev studied many various sources: dailies and magazines, published in the capital cities and in provinces, many collections of documents, memoirs and so on. Chernyaev’s works proved to be useful to historians D. I. Bagalei and D. P. Miller who covered the history of theater in their famous book “The History of the City of Kharkov during 250 Years of its Existence.” In the first half of the 20th c., there were no integral and systematic researches on the history of the city of the previous century, so the monograph “The Beginnings of the Theater in Kharkov” by Arkadiy Pletniov, published in 1960, one can consider as summarizing. The author based much of his study on the works of N. I. Chernyaev. He also widely used the materials resting in the A. A. Bakhrushin Museum of Theater, Moscow, and in many archives. In his monograph, Dr. Pletniov did not limit himself with listing the events of theatrical life, but thoroughly analyzed the activities of the Board of Trustees and such managers as I. Shtein and L. Mlotkovskiy. In several supplements, one can find lists of main roles played on Kharkiv stage by its prominent actors (N. Rybakov, L. Mlotkovskiy, K. Solenik). Pletniov’s work, enriched by references and commentaries, played an important part in creating the complex picture of Kharkov’s theatrical life. Due to abundance of the facts and clear style, Dr. Pletniov’s book stays up to now a valuable source on the subject. Conclusions. The analysis of historiography concerning the theater in Kharkiv of the 19th and early 20th cc. enables the author to come to conclusion that the main challenges a modern researcher has to face are as follows: the absence of system in bibliographic manuals; lacunas in the funds of periodicals of most libraries; the absence of important documents in archives. Theater life in Kharkiv has been studied far from satisfactory level yet. The following problems of history especially need thorough research work from historical point of view: theater critique; drama art; architecture of theater buildings in Kharkiv; amateur theater companies; charity for theaters; and some other points. The task of modern researchers, as we see it, lies in gradual filling the gaps mentioned above.
3
Kalnačs, Benedikts. "20th-century Baltic Drama: Comparative Paradigms". Interlitteraria 19, n.º 1 (1 de julho de 2014): 33. http://dx.doi.org/10.12697/il.2014.19.1.3.
Texto completo da fonte
4
Tykholoz, Nataliia. "Between Fact and Ego-Literature: Memoir and Publicistic “Odyssea” by Anna Franko-Klyuchko (Genre-Thematic Polyphony)". Pitannâ lìteraturoznavstva, n.º 108 (29 de dezembro de 2023): 164–87. http://dx.doi.org/10.31861/pytlit2023.108.164.
Texto completo da fonteResumo:
Article is devoted to the memoir and artistic and journalistic work of Anna Franko-Klyuchko (1892–1988), the youngest daughter of Ivan Franko. The purpose of the studio is to reveal the creative individuality of the author as a representative of the literary dynasty of the Franks. The investigation is based on historical and documentary research using analytical, synthetic, biographical, bibliographic, cultural-historical, and geneological methods. The novelty of the research consists in understanding and introducing into scientific circulation a number of memoirs and journalistic texts of Anna Franko-Klyuchko, which were scattered in diasporic periodicals and for a long time were out of the attention of researchers. On the basis of the analysis of these texts, conclusions are made about the peculiarities of the creative style of Anna Franko-Klyuchko, which is characterized by a high degree of autobiography, emotionality and imagery, and the dominance of the genres of essays and memoirs. The texts of Anna Franko-Klyuchko can be considered documents of the author's creative and life history (characteristically ego-literature). As a whole, the memoir and journalistic texts of Anna Franko-Klyuchko make up a long story of the life of the author herself: one text grows into another, creating a travelogue lasting a lifetime with unrealized dreams and real events. The source for Anna Franko-Klyuchko’s texts was either her memories of the years she lived in Ukraine, or events from the author’s emigrant life, which as a whole represented the great drama of the generation that suffered defeat in the national liberation contests of the beginning of the 20th century. In the psychoanalytical dimension, literary creativity was for Frank's daughter an attempt to go beyond the limits of the possible: a way to return home (imaginatively in dreams, memories and fantasies), when in reality she could not return there, when the ship of her life was sailing in the opposite direction from her native home, and her soul was torn home. This form of creative existence became the secret of the author’s longevity and at the same time vividly reflected the tragedy of the generation of Franko’s children, whose lives were spent in emigration.
5
Epner, Luule. "Postcolonialism and Baltic Drama". Interlitteraria 22, n.º 1 (7 de setembro de 2017): 207. http://dx.doi.org/10.12697/il.2017.22.1.17.
Texto completo da fonte
6
FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe". European Review 9, n.º 3 (julho de 2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.
Texto completo da fonteResumo:
The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.
7
Lecossois, Hélène. "Renegotiating and Resisting Nationalism in 20th-century Irish Drama". Études irlandaises, n.º 35-2 (30 de dezembro de 2010): 186–87. http://dx.doi.org/10.4000/etudesirlandaises.2068.
Texto completo da fonte
8
B, Vijayakumar. "A Comparative Analysis of Tamil and Assamese Dramatic Tradition". International Research Journal of Tamil 4, n.º 2 (1 de fevereiro de 2022): 1–8. http://dx.doi.org/10.34256/irjt2221.
Texto completo da fonteResumo:
The article is to trace the heritage of Tamil and Assamese drama earliest times to present. The sub-genre of different periods is also discussed herewith. Earliest record of Tamil drama is available during Sangam period. In Assamese it is mentioned in the Sankaradev period. Sankardeva the father of Assamese literature and society maker had a great contribution to Assamese drama. ‘Chihno Jatra’ was the first drama of Assamese literature. To speed up his ‘Ek Saran’ religion he wrote many dramas as an instrument of it and his followers also followed him. In the end of the nineteenth century Tamil and Assamese drama underwent a change after its contact with western literature. Hence the Tamil drama can be divided into four periods. (1) Tolkappiyam to 16th century, (2) drama in the 17th,18th century, (3) 19th century, and (4) 20th century. Assamese drama can be classified as (1) Vaisavate period, (2) Ahom period, (3) modern period. Many authors wrote ancient, historical and modern dramas in both languages. All those dramas are taken as the very great wealth of Tamil and Assamese literature.
9
Luu, Thuy Trung. "Drama in Ho Chi Minh City literature and art life". Science and Technology Development Journal 18, n.º 4 (30 de dezembro de 2015): 47–60. http://dx.doi.org/10.32508/stdj.v18i4.960.
Texto completo da fonteResumo:
In the history of Vietnamese drama, Saigon was one of the places absorbing Western drama from the early time. Although drama in Saigon-Ho Chi Minh City didn’t develop in a smooth and straight way, it was a continuous and unbroken process. This process brought in strong development of drama in Ho Chi Minh city in two decades of the late 20th century and the early 21st century. However, in recent years, drama in Ho Chi Minh City seems to proceed slowly, which reflects some irrational aspects from drama script, performance art to performance operation. Therefore, it’s high time to review the whole history of drama in Saigon-Ho Chi Minh City to collect experiences for the steady development of drama in this City in the future.
10
Bošnjak, Matija. "Elements of Dramatic Symbolism in the Poetics of Miodrag Žalica". Društvene i humanističke studije (Online) 6, n.º 3(16) (27 de julho de 2021): 43–58. http://dx.doi.org/10.51558/2490-3647.2021.6.3.43.
Texto completo da fonteResumo:
In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.
Teses / dissertações sobre o assunto "Drama – 20th century – bibliography"
1
CRAMER, EDNA LUISE. "AMERICAN MUSIC FOR WOMEN'S CHORUS: AN ANNOTATED REPRESENTATIVE LIST OF LARGER WORKS PUBLISHED BETWEEN 1940 AND 1980". Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188113.
Texto completo da fonteResumo:
The contributions made by American composers to the repertoire for women's chorus have increased significantly since 1940. This study was undertaken because previous investigations are international in scope and do not give an adequate view of the broad range of American works now available. Criteria established for works to be included in the study were as follows: (1) original compositions by American composers; (2) at least six minutes in duration; (3) available to the public from a publisher, composer, or repository of American works; (4) publication or composition date after 1940 and before 1980. The study includes both secular and sacred works. Qualitative comments were avoided because they were not consistent with the object of the study. Since numerous works are out of print and are almost impossible to obtain, the 91 works annotated in the study represent but a portion of the total output of American composers. Each annotation includes composer name; composer dates (when available); title of composition; date of publication or composition; text source; voicing; ranges of individual parts; level of difficulty; duration; accompaniment medium; and publisher and catalog information. A descriptive paragraph on the work in toto and on each movement or set piece briefly discusses text content, harmonic background, melody, rhythm, tessitura, meter, texture, form, role of accompaniment, and/or other salient features.
2
Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
Texto completo da fonteResumo:
Thesis (MDram (Drama))—University of Stellenbosch, 2006.Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
3
Li, Jing. "Self in community: twentieth-century American drama by women". HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
Texto completo da fonteResumo:
This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
4
Wang, Labao. "Australian short fiction in the 1980s : continuity and change". Thesis, The University of Sydney, 1999. https://hdl.handle.net/2123/27583.
Texto completo da fonteResumo:
This thesis offers a critical survey and a comprehensive bibliography of the
Australian short story in the 1980s. Conceived partly as an continuation of Stephen
Torre’s study of Australian short fiction of the 1940-1980 period, it starts where
Torre’s thesis stopped, focusing on Australian short story writing published in the
ten years between 1981 and 1990. Torre has summed up the 1940-1980 period as
‘a time of development and innovation’ in the history of Australian short fiction. In
comparison, the 1980s is probably best described as a decade of unprecedented
expansion and diversification. During that time, Australian short fiction broke away
from its earlier domination by monolithic traditions and became a much more
eclectic and pluralistic form. Contributing to this eclecticism and plurality were five
different streams of story writing created by five separate groups of writers. Due to
constraints of space, the critical text of the thesis examines only four of them.
5
Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic". PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
Texto completo da fonteResumo:
Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist.
This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
6
Vieira, de Andrade Ana Lúcia. "Margen y centro : dramaturgia femenina Brasileña contemporánea". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38429.
Texto completo da fonteResumo:
The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring or playing down their work. The production of three dramatists will be analysed here, namely, those plays by Leilah Assuncao, Maria Adelaide Amaral and Isis Baiao which fall into the period 1969--1999, and which exemplify two key tendencies in the Brazilian theatre of the last thirty years. These tendencies are: first, the attempt to widen the traditional horizon of politicized theatre by adding to its socio-political concerns a focus on the individual and his/her particular agenda, and, secondly, the break with any specifically aesthetic or conceptual format on stage in a blurring of the legacies of tradition and the vanguard, in which a "hybridism" of form and language is particularly noticeable in the privileging of a kind of writing that is not bound by formal limits. Such an analysis has made it possible to highlight how determined types of reaction may be altered along the time when different interpretive parameters are used by the critical community and by the public. While a certain sympathy is shown here for the feminist reading of the ideological bases of the literary canon, this is done not only to corroborate the masculine bent of such a canon to the exclusion of the Other, but also to prove that the criteria regulating excellence are products of a specific ideology which changes according to its sociohistorical context. The ultimate goal here is, thus, to make
7
Gonshor, Anna 1949. "Kadye Molodowsky in Literarishe bleter, 1925-35 : annotated bibliography". Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28054.
Texto completo da fonteResumo:
The rise in feminist consciousness and the growth of Women's Studies has brought Yiddish women writers into sharp focus. Kadye Molodowsky was one of the most prominent of the modern Yiddish women poets.Her biography is a typical summary of the modernization of Eastern European Jewry in the early twentieth century.
Molodowsky was a leading figure in Yiddish cultural life in interbellum Poland. As a writer, her primary affiliation was with the Literarishe bleter (Literary Leaves, 1924--1939). This periodical, founded by prominent Yiddish intellectuals in Warsaw, became the world tribune of secular Yiddish culture. Molodowsky's association with this high-profile publication placed her at the centre of the vibrant Jewish literary, cultural, and social life of the time.
What follows, is an annotated bibliography of her publications and work about her in Literarishe bleter, from her debut there in 1925 until her departure for the US in 1935.
8
Sanchez, Luis. "Piano literature by Argentine composers from the late nineteenth century through the twentieth century : an annotated catalog". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1247895.
Texto completo da fonteResumo:
The piano pieces by Argentine composers are a significant contribution to piano literature. They represent the voice of a nation that has enjoyed a strong musical tradition, with a noted European influence and a unique fusion of Argentine folk dances and songs. In that regard, these works possess distinctive qualities and an incomparable style. Unfortunately, a large proportion of these compositions remain unknown.This annotated catalog focuses on the piano literature by Argentine composers from the late nineteenth and the twentieth centuries, that are available in U.S. libraries. Its purpose is to aid pianists, educators, and music historians discover a wealth of repertoire that has long been neglected. The piano works by Argentine composers, including Julian Aguirre (1868-1924), Felipe Boero (1884-1958), Juan Jose Castro (1895-1968), Alberto Ginastera (1916-1983), and Carlos Guastavino (1912-2000) are listed alphabetically by composer. Each entry includes publishing information, level of difficulty, U.S. libraries that hold the scores, and a descriptive paragraph. Transcriptions, arrangements, works for piano and tape, and prepared piano have not been included.School of Music
9
Wong, Chi-keung Frederick, e 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.
Texto completo da fonte
10
Wilsenach, Coba†Maryn. "An examination of the relation of scientific thought to changing notions of time, space and character in 20th century drama: Chekov, Beckett, Foreman". Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/13988.
Texto completo da fonteResumo:
This study examines and investigates the relation of scientific thought to changing notions of time, space and character in twentieth†century drama. The aim of the study is to illustrate the influence scientific thought had on the zeitgeist of the twentieth†century and how this in turn is reflected through the drama in the treatment of the dramatic elements of time, space and character. The focus of the study rests on three case studies, each of which can be seen as a precursor to the following in a linear timeline of the development of twentieth†century drama. The analysis of the three texts, namely Anton Chekhov's The Cherry Orchard, Samuel Beckett's Waiting for Go dot and Richard Foreman's Bad Boy Nietzsche, will show how the philosophical notions of the twentieth†century, namely relativity, uncertainty, ambiguity, paradox, complexity and causality (which stemmed from the changing worldview offered by the theory of relativity) is reflected in the dramatists' handling of the notions of time, space and character.
Livros sobre o assunto "Drama – 20th century – bibliography"
1
Modern drama scholarship and criticism 1981-1990: An international bibliography. Toronto: Published in association with Modern drama by University of Toronto Press, 1997.
Encontre o texto completo da fonte
2
Carpenter, Charles A. Modern drama scholarship and criticism, 1966-1980: An international bibliography. Toronto: University of Toronto Press, 1986.
Encontre o texto completo da fonte
3
Hooks, Ed. The ultimate scene and monologue sourcebook: An actor's guide to over 1,000 monologues and scenes from more than 300 contemporary plays. New York: Back Stage Books, 1994.
Encontre o texto completo da fonte
4
Hooks, Ed. The ultimate scene and monologue sourcebook: An actor's guide to over 1,000 monologues and scenes from more than 300 contemporary plays. New York: Back Stage Books, 2007.
Encontre o texto completo da fonte
5
Volat-Shapiro, Helene. Jean-Louis Barrault: Ecrits, repertoire, filmographie et critiques, 1935-1989. Paris: Lettres Modernes, 1992.
Encontre o texto completo da fonte
6
1956-, Cody Gabrielle H., e Sprinchorn Evert, eds. The Columbia encyclopedia of modern drama. New York: Columbia University Press, 2007.
Encontre o texto completo da fonte
7
Asoshiētsu, Nichigai, ed. Nihon no shōsetsu zenjōhō 97/99. Tōkyō: Nichigai Asoshiētsu, 2000.
Encontre o texto completo da fonte
8
Dickey, Jerry R. Sophie Treadwell: A research and production sourcebook. Westport, Conn: Greenwood Press, 1997.
Encontre o texto completo da fonte
9
W, Demastes William, ed. British playwrights, 1956-1995: A research and production sourcebook. Westport, Conn: Greenwood Press, 1996.
Encontre o texto completo da fonte
10
Graves, Mark A. George Kelly: A research and production sourcebook. Westport, Conn: Greenwood Press, 1999.
Encontre o texto completo da fonteCapítulos de livros sobre o assunto "Drama – 20th century – bibliography"
1
Jin, Fu, e Zhang Qiang. "Modern drama and “feudalism, capitalism and revisionism”". In A History of Chinese Theatre in the 20th Century IV, 3–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-2.
Texto completo da fonte
2
Jesús, Tronch. "Evolución de los criterios ecdóticos en las ediciones modernas del teatro de Shakespeare". In La edición del diálogo teatral (siglos XVI-XVII), 147–73. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-224-9.07.
Texto completo da fonteResumo:
Editorial criteria in critical editions of Shakespeare’s plays have evolved from a 18th-century arbitrary eclecticism into one restricted by the editor’s knowledge of the nature and transmission of the early texts, a knowledge developed by the 20th-century New Bibliography that specially informs paleographical and bibliographical criteria. Roughly from the 21st century, these criteria have evolved into a conservatism influenced by a social view of texts, which stands on a par with the primordial criterion of reconstructing the text intended by the author. This textualism is nourished by a skepticism about the certainty the New Bibliography inspired in what editors know about the texts’ transmission.
3
Aloe, Stefano. "Аспекты рецепции русской литературы в Италии периода фашизма". In Biblioteca di Studi Slavistici, 225–42. Florence: Firenze University Press, 2023. http://dx.doi.org/10.36253/979-12-215-0238-1.20.
Texto completo da fonteResumo:
Aspects of the reception of Russian culture and literature in Italy during the fascist period. Many studies are dedicated to the reception of Russian literature in Italy with a really extensive bibliography on specific aspects of the question. However, there is still no comprehensive monograph on the subject as a whole. Russian literature became popular in Italy at the end of the ‘80s of the 19th century after being almost completely ignored. A deepened comprehention and awareness of Russian literature was gained in the first decades of the 20th century, when exoticism was gradually supplanted by familiarity. The 20’s are the time when Russian literature and culture can be considered a modern classic for the average Italian. Fascism’s attitude to the Soviet experiment was by no means unequivocal, and Russian literature had a specific influence on intellectual life in Italy and served as a factor in its defense of intellectual freedom during the 20 years of fascist power. Almost all major Soviet writers are translated and published in Italy in the 20’s. The situation will radically change in the 30’s, when the censorship will take over and the confrontation will become unambiguous.
4
"Bibliography". In Russia’s 20th Century. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350091443.0010.
Texto completo da fonte
5
"Bibliography". In Public Spending in the 20th Century, 254–72. Cambridge University Press, 2000. http://dx.doi.org/10.1017/cbo9780511625800.018.
Texto completo da fonte
6
"Bibliography". In Wartime Captivity in the 20th Century, 283–316. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781785332593-031.
Texto completo da fonte
7
"Bibliography". In Wartime Captivity in the 20th Century, 283–316. Berghahn Books, 2016. http://dx.doi.org/10.2307/j.ctvr695q6.33.
Texto completo da fonte
8
"BIBLIOGRAPHY". In Being and Some 20th Century Thomists, 321–34. Fordham University Press, 2022. http://dx.doi.org/10.1515/9780823290994-014.
Texto completo da fonte
9
Brunner, Rainer. "Bibliography". In Islamic Ecumenism in the 20th Century, 401–23. BRILL, 2004. http://dx.doi.org/10.1163/9789047404279_017.
Texto completo da fonte
10
"Selected Bibliography". In Liberalism in 20th Century Egyptian Thought. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755608522.0010.
Texto completo da fonteTrabalhos de conferências sobre o assunto "Drama – 20th century – bibliography"
1
Dong, Xiao. "POPULARITY OF STANISLAVSKY IN CHINA". In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.26.
Texto completo da fonteResumo:
Konstantin Sergeevich Stanislavsky is the most influential theater director of the Soviet era in the first half of the 20th century. The system he created, which is based on the “art of experiencing”, had a profound impact on the performing arts of the 20th century. Since it was introduced into China in the 1940s, it has played a very important role in the development of contemporary Chinese drama performance art in the 1950–1960 years. In the 1960–1970, Stanislavsky was criticized in China. Since the late 1970s, although Stanislavsky has been vindicated in China, his importance has correspondingly weakened with the popularity of Brecht. It can be said that the encounter of Stanislavsky in China is a typical example, reflecting acceptance and interpretation of Russian Soviet literature and art in China. To some extent, this tendency obscures the real value of Russian Soviet literature and art. It is a problem worthy of reflection.
2
DOSPINESCU, Liviu. "Present-Day Trends in the Research and Creation of Living Arts in the Academia: A North American Model". In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0011.
Texto completo da fonteResumo:
This paper tackles several aspects of the ‟opening towards the Other” that has marked an emancipation trend in the arts of the stage for more than a century; I will name them living arts because, of all the arts, they are distinctly characterized by this essential quality. It also finds its meaning in the institutional decompartmentalization and the opening of disciplinary practices towards the others. Under the sign of the inherent human living presence, the living arts refer to experiences in the whole spectre of the stage arts, coming under a polymorphous subject of research as early as the former half of the 20th century. It includes the most diverse disciplinary aspects, which are no longer just those of the drama, dance and choreography, performance or music, because the disciplinary practices of the other field and also practices from more remote fields like the visual arts, the cinema or those of the languages of new technologies connected, for instance, with the complex projections on the stage or its augmentation through Virtual Reality etc. can be added to it any time. Thus, we can notice how, in an intermedial process, in the meeting of drama and film, drama, as an art of the unmediated and of the living presence, tends to leave a mark (i.e. of the living) on the spectre of the delayed presence of the film in an inter- or even transdiciplinary relation. Therefore, the paper explores phenomena around the meeting of distinct entities under the interdisciplinary and intercultural aspects that mark the strong current interest in alterity and hybridity in the stage act but also in the new modes of perception in which the spectator is invited to engage or in the new interpretation grids demanded of the researcher. I will enrich this perspective by offering a few present-day reserach and creation trends in the living arts in the academia. They are extracted from my experience of both research-creation and doctoral project coordination. I share this experience in order to reveal a distinctiveness of research and creation at University of Laval, Québec and, at a larger scale, a trend or maybe even a model for the North American space. Apart from its descriptive aspects, my paper aims at raising new questions, inspire new possibilities and reinforcing new contributions in the research and creation of living arts.
3
RYCHKOV, Alexander L. "BEYOND THE PALE OF THE PAGES OF AUTOBIOGRAPHY OF A MINING ENGINEER: UNKNOWN PAGES OF THE LIFE OF ALEXANDER SCHUPPE". In Eurasia s Mountain Heart, devoted to the 95th anniversary of the Satka Municipal District. Chelyabinsk State University Publishing House, 2022. http://dx.doi.org/10.47475/9785727118511_169.
Texto completo da fonteResumo:
On the foundation of lifetime publication oeuvres and archival sources, most of which are used for the fi rst time, this paper examines the remaining unknown pages of life of Alexander F. Schuppe. Schuppe was a member of the “Land and Liberty” secret society and later became one of the most creative Ural mining engineers and mining industrialists, and initiated the construction of the “Magnezit” refractory products factory and the “Porogi” ferroalloy plant. The methodology of research of regional intellectual traditions of Russia, which is focused on the fi gure of Schuppe, is based on such an interdisciplinary research direction as Intellectual History. Therefore, A.F. Schuppe’s life-creation is described in the genre of intellectual biography, where the personal life and creative activities of the researched fi gure are closely intertwined with cultural and historical contexts of the era, especially the South Ural region. This article explores his genealogy, family life and political biography, communication with famous people of his time, as well as the last years of his life, which were unknown until now. The article also presents the results of the study of documentary sources related to the discovery of magnesite deposits near the village of “Satkinsky plant” was carried out, on the basis of which found the exact date and history of the discovery of these deposits by A.F. Schuppe. The appendices contain little-known publications about Schuppe in the fi rst third of the 20th century, as well as a bibliography of his works, which is preceded by a list compiled by Schuppe himself and published for the fi rst time, “Works by A.F. Schuppe”. There is an extensive list of historical, archival, and literary sources.