Literatura científica selecionada sobre o tema "Humanities -> theatre -> playwriting"

Despite their deep-seated presence in Britain, Muslims have been mostly excluded from theatre and popular entertainment. Sociopolitical restrictions have had an impact on the development of Muslim playwriting and it has taken longer than expected for Muslims to find their place within British theatre. Due to the expanding presence of Muslims in British and especially London theatres, the early twenty-first century has become a watershed for British Muslims. This article aims to show how British Muslims describe and represent their cultural, social and religious identities in theatrical works in twenty-first century Britain. Through Guleraana Mir’s play Coconut () – an example of British Muslim playwriting and representation – the representation of the relationship between Islam and Britishness will be examined. This article falls in the wider context of Islamic performances and theatre practices of the twenty-first-century Britain.

The theatre ecology had embraced digital technology long before the Covid-19 pandemic entered our lives. The orange economy, as we know it, is driven by creativity from the arts and humanities as well as the sciences. Playwriting pedagogy, as was traditionally taught, pointed to the stage, printing press and elitist publishers as windows to the world. The theatre arts is a discipline that has a value chain of products and services. Adopting the survey and historical-analytic methods, this paper focuses on playwriting and the playwrightpreneur’s options to the conventional style of publishing for product spread and economic empowerment. The excitement and apprehensions of digitisation on this venture are interrogated via an online survey on consumers of play texts, on the one hand, and playwrights on the other hand. The researcher argues that the availability of online stores does not necessarily translate to the availability of e-books. The results show that even though we are in the digital era, the acceptability of e-books is low compared to hard- copy books. It also reveals that knowledge of online publishing is poor. The gains of digitising theatre projects are illuminated. Furthermore, teachers and students of theatre arts studies will find this option complementary to the age-long style of hard copy inventories as institutional or personal collections. The paper concludes that adequate information on how to publish play texts online is urgently needed especially for writers of dramatic texts. It recommends that workshops on online publication be organised for teachers and students of playwriting.

This paper builds on my on-going research into the playwright’s role within the collaborative devising process, which includes questioning traditional pedagogical approaches to writing for the stage. In addition, it references the practical experience of developing and teaching modules focused on the craft of playmaking for the online Theatre Studies BA at Rose Bruford College of Theatre and Performance. Although there may appear to be a disconnection between encouraging playwrights to engage with collaborative theatre making and the mainly asynchronous nature of an online degree, where students often work in isolation, the core tenet of this ‘Perspectives’ piece is that all teaching of playwriting, regardless of whether it is online or not, needs to move beyond the traditional classroom/workshop approach.Whilst the pedagogical framework that sees students engage in text-based studies of scripts and books about writing cannot be entirely abandoned, students benefit from a more embodied approach, which reminds them that they are writing for a medium which communicates in a multi-faceted way and is negotiated in the moment, so that they gain a more holistic understanding of how a script might be interpreted in live performance. Drawing on both my practice as a playwright and dramaturg, and my work in online teaching, I argue that there is potential to treat the ‘Zoom room’ as workshop, where students can work together, improvise, and treat their screens as spaces for experimentation and performance. In addition, this more dynamic approach helps to prepare students for a rapidly evolving theatre ecology, which had embraced digital technology long before Covid-19 entered our lives. @font-face{font-family:Arial;panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}@font-face{font-family:Arial;panose-1:2 11 6 4 2 2 2 2 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}@font-face{font-family:Calibri;panose-1:2 15 5 2 2 2 4 3 2 4;mso-font-charset:0;mso-generic-font-family:auto;mso-font-pitch:variable;mso-font-signature:3 0 0 0 1 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal{mso-style-unhide:no;mso-style-qformat:yes;mso-style-parent:"";margin-top:0cm;margin-right:0cm;margin-bottom:10.0pt;margin-left:0cm;line-height:115%;mso-pagination:widow-orphan;font-size:11.0pt;font-family:Calibri;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}p.yiv1533337505msonormal, li.yiv1533337505msonormal, div.yiv1533337505msonormal{mso-style-name:yiv1533337505msonormal;mso-style-unhide:no;mso-margin-top-alt:auto;margin-right:0cm;mso-margin-bottom-alt:auto;margin-left:0cm;mso-pagination:widow-orphan;font-size:10.0pt;font-family:"Times New Roman";mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}.MsoChpDefault{mso-style-type:export-only;mso-default-props:yes;font-size:11.0pt;mso-ansi-font-size:11.0pt;mso-bidi-font-size:11.0pt;font-family:Calibri;mso-ascii-font-family:Calibri;mso-ascii-theme-font:minor-latin;mso-fareast-font-family:Calibri;mso-fareast-theme-font:minor-latin;mso-hansi-font-family:Calibri;mso-hansi-theme-font:minor-latin;mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;}.MsoPapDefault{mso-style-type:export-only;margin-bottom:10.0pt;line-height:115%;}div.WordSection1{page:WordSection1;}

The purpose of my research was to discover the most effective ways to write ten-minute plays. I adapted various "suggestions" proposed in the many playwriting books I gathered to find the way that worked best for me as an artist. The majority of the books I read suggest writing ten-minute works before attempting a one-act or even a full-length play. My resources yielded a plethora of information on how to actually write a play. Three of my sources that proved to be enlightening were The Art and Craft of Playwriting by Jeffrey Hatcher, Playwriting for Dummies by Angelo Parra, and Naked Playwriting: The Art, the Craft, and the Life Laid Bare by William Missouri Downs and Robin U. Russin. I also attended a master class with playwright Tim Bauer, and he gave me insight on approaching writing ten-minute plays. Through my research, it became evident that the real problem with writing is not so much the structure or the way a person writes, but the actual writing itself. Each of my resources had valuable information that made my job as an artist easier, but none of them, even the tips Bauer gave me, worked one hundred percent of the time. Some plays were easier to write if I wrote them without stage directions first, as Bauer suggested, but others stalled if I didn't write my vision of the stage before actually writing dialogue. The research I have completed can aid a multitude of future creative artists. My Five Tips for Writing and Three Tips for a First Production are useful insights that would have been invaluable had I known them when I started writing.
B.F.A.
Bachelors
Theatre
Arts and Humanities

Studies exploring the first wave of digital performance foregrounded technology by cataloging experimentation and novel interactions between liveness, projections and code. As exercises in medium, these high tech spectacles demonstrate the aesthetic potential of digital media while introducing key media concepts. Jennifer Haley is a writer with one foot in theatre and one in code. She is uniquely positioned in two interdependent spheres, which makes her particularly suited to engineer a theatrical bridge into the virtual, because at the heart of the contemporary technological revolution is a new level of writing and media literacy. Theatre has been effectively accessing the virtual imagination for millennia, and new technologies create new intricacies for engaging the virtual within theatrical space. Each is a medium defined by action, which host other media, and provide in depth simulations. Haley’s plays push beyond the fascination and spectacle of technology to incorporate the mundane reality of the digital into the structure of her work. Haley writes plays specifically to resonate with the similarities she sees between theatre and virtual worlds. Utilizing techniques and tropes from other media and then framing the narrative from within a theatrical world Haley exploits the essence of an active, critical audience and opens a dialog between virtual worlds and the perceptions of the audience. She treats her media generated worlds as places. Other digital theatre plays may peer through a window into the virtual by dramatizing a conversation through media; Haley sends an expedition over the threshold into another world. A flesh version of an avatar breathing before the audience establishes a material existence unattainable in two dimensional screen media. Haley illuminates the constructed nature of mediatized communication, but she does it dramaturgically deemphasizing the technology and re-centering the human within the virtual drama. Her approach builds a metaphorical bridge between theatre and virtual digital realities. Through a close reading of Haley’s plays I will demonstrate how Haley takes the artistic next step for computer technology and theatre.

Playwrights write about what is familiar to them. Their inspiration comes from their childhood, past relationships, and their personal view of the world. But could a playwright write about something to which they have no personal connection? Using the book Triggered: A Memoir of Obsessive-Compulsive Disorder, I will write a one act play about mental illness. I have no personal experience or personal connection to mental illness, but I will approach the process the same way as an actor does a character. I will go into the writing process as an actor, completing character analyses for the characters and using the information found within the book. I will direct a reading of my play with the goals of educating the audience about mental illness, evoking empathy for the characters within the piece, and proving that a playwright can write about something that is foreign to them, much like an actor can portray a character that is remarkably different from themselves.
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Acting

Although there are countless manuals devoted to playwriting, very few take up the craft of dramatic adaptation in a practical context. My rendering of Theodore Dreiser’s Sister Carrie is an exploration of fundamental elements that require consideration when adapting for the stage. My approach to the characters’ inarticulateness reveals an inherent theatricality in the novel, which both respects Dreiser’s themes and makes them accessible through the conventions of the stage. I suggest the craft of dramatic adaptation should strike a delicate balance between being a “pilgrim” toward the intentions of the source and an “outlaw” in its innovative theatrical representation of them.

This thesis details the labors of research and judgment that informed the writing of Matoaka, a Play in Three Acts. Specifically, the thesis explores the historical puzzles surrounding the life of Pocahontas and justifies the decisions made in dramatizing her life in the aforementioned play. Non-fictional works of the last four hundred years are considered, as well as popular dramatic performances of the nineteenth century. These works are examined closely in order to reveal the Pocahontas story as a point of contact between many concurrent social discourses. Reflections are also offered on the production of the aforementioned play and its reception in Petersburg, Virginia, in April and May of 2007. Finally, the production script of the play itself is offered as an appendix

This play is a translation and adaptation of a Spanish play originally written in 1806 by Leandro Fernández de Moratín, El sí de las niñas. Because that play was not available to English-speaking actors, I translated the work directly from the original Spanish. The resulting manuscript was not the finished product of this play, however. Through a series of workshops with actors trained in a physical method of theatre I devised in order to modernize classic works to a more modern audience's tastes, the script morphed and grew into the play that follows.

Arts-Across-the-Curriculum is gaining popularity in the field of education as arts programs are being cut from schools and teachers look for ways to incorporate art in their classroom. Most of these teachers have minimal formal arts training, but recognize the importance of introducing their students to various fine arts disciplines. These educators seek opportunities to learn new ways to bring arts to their students and may bring teaching artists into their classrooms to teach students or teachers. The clear connection between drama and the core subjects of history and literature allow teaching artists to easily create units utilizing both curriculum areas. Mathematics does not present clear connections to drama and the prevalence of mathematics anxiety, especially in the arts, prevents connections from being made. As an educator, theatre artist and lover of mathematics, Arts-Across-the-Curriculum provides me a opportunity to meld these together as a way to help young people find excitement in their education. Partnering with a fourth grade teacher, I developed a unit of lesson plans using playwriting as a way to understand word problems that was user-friendly for a teacher with no arts training. The Dramath Unit was integrated into the class as part of regular curriculum taught by the participating classroom teacher. Based on feedback from the participating teacher, I revised the unit for future use.
ID: 029809671; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 88-90).
M.F.A.
Masters
Theatre
Arts and Humanities