Siga este link para ver outros tipos de publicações sobre o tema: Places - drama.
Artigos de revistas sobre o tema "Places - drama"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Places - drama".
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.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Slights, William. "Secret Places in Renaissance Drama". University of Toronto Quarterly 59, n.º 3 (março de 1990): 363–82. http://dx.doi.org/10.3138/utq.59.3.363.
Texto completo da fonte
2
Stalmaszczyk, Piotr. "The Permanence of Place: Places and Their Names in Irish Literature". Studia Celto-Slavica 2 (2009): 93–109. http://dx.doi.org/10.54586/bcbf2160.
Texto completo da fonteResumo:
This paper discusses the relation between places and their names as reflected in Irish literature. According to Robbie Hannan (1991: 19) attachment to place is among the strongest human emotions, explicitly revealed in literature. Celtic literature is ‘saturated’ with images of landscape and preoccupied with places and their names, landscape is constantly present in ancient sagas and bardic poetry, modern drama, short stories, novels and essays. The sense of place is explicitly manifest in medieval heroic tales (such as The Táin), and twentieth century novels (e.g. James Joyce’s Ulysses) and poetry, or contemporary drama (e.g. Brian Friel’s Translations). Patrick Sheeran (1988: 194) has observed that the idea of the Irish sense of place is: (a) a product of the native tradition; (b) it is a verbal or nominal preoccupation and has little to do with any actual cultivation of things; (c) it relates to death rather than to life. The principal aim of this paper is to further add to the above characteristics.
3
Moewaka Barnes, Angela, e Helen Moewaka Barnes. "MĀORI IN UNEXPECTED PLACES: Watching Māori on Television". Sites: a journal of social anthropology and cultural studies 19, n.º 1 (15 de agosto de 2022): 34–59. http://dx.doi.org/10.11157/sites-id512.
Texto completo da fonteResumo:
This paper draws on a study of audience responses, prompted by understandings of the power exerted by representations in television dramas. The wider study explored Māori and non-Māori meaning-making, emotions, feelings, and affective practices that arise when viewing Māori representations on locally produced television dramas. Findings from focus group responses to an episode of the local television drama The Brokenwood Mysteries are organised here, using a framework of the expected and unexpected that aligns with theories of Kaupapa Māori and affect. Three key themes emerged: ‘The Expected and Unexpected’; ‘Reflection and Challenge’; and ‘Motivations and the Writer’s Responses’. Although attention is on Māori, Pākehā responses are included. Māori were deeply affected and worked hard to pre-empt and address what they saw or expected to see. Although some Pākehā expressed discomfort and concern when responding to negative representations of Māori, they did not demonstrate the same levels of negotiation and contestation.
4
Carpenter, Alexander. "Towards a History of Operatic Psychoanalysis". Psychoanalysis and History 12, n.º 2 (julho de 2010): 173–94. http://dx.doi.org/10.3366/pah.2010.0004.
Texto completo da fonteResumo:
This paper examines the history of the trope of psychoanalytic therapy in musical dramas, from Richard Wagner to Kurt Weill, concluding that psychoanalysis and the musical drama are, in some ways, companions and take cues from each other, beginning in the mid-19th century. In Wagner's music dramas, psychoanalytic themes and situations – specifically concerning the meaning and analysis of dreams – are presaged. In early modernist music dramas by Richard Strauss and Arnold Schoenberg (contemporaries of Freud), tacit representations of the drama of hysteria, its aetiology and ‘treatment’ comprise key elements of the plot and resonate with dissonant musical soundscapes. By the middle of the 20th century, Kurt Weill places the relationship between analyst and patient in the foreground of his musical Lady in the Dark, thereby making manifest what is latent in a century-spanning chain of musical works whose meaning centres, in part, around representations of psychoanalysis.
5
Saleh Hasan Dahami, Yahya. "Arabic Contemporary Poetic Drama: Ali Ahmed Ba-Kathir A Pioneer". Arab World English Journal For Translation and Literary Studies 5, n.º 1 (15 de fevereiro de 2021): 40–59. http://dx.doi.org/10.24093/awejtls/vol5no1.3.
Texto completo da fonteResumo:
Many central playwrights significantly contributed to the progress and advancement of Arabic drama. They were apt to achieve dramatic illustrations in several Arabic countries all the way through ages and places. Still, this study attempts to shed light on an innovator poet-dramatist who represents many cultures and experiences. It aims at displaying the most significant features of renovation associated with the development of the modern Arabic poetic drama that employs history and social problems to present a vision for Arabic literature in the contemporary age. The researcher adopts the critical-descriptive approach in analyzing the poet-dramatist, Ali Ahmad Ba-Kathir, and two of his poetic dramas. It is mapped with an introductory overview dealing with a concise notion of drama, concentrating predominantly on poetic drama. The foremost part copes with the developer and pioneer Ali Ahmad Ba-Kathir, focusing on his thoughts and experiences in the field. The paper, then, moves ahead to deal with two verse plays as a model of his craftsmanship and mastery. After that, the study finishes with a brief argument and/or recommendations and an end.
6
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.
7
Hardany, Hardany, e Sarah Samaria Najoan. ""Like or Rely? Korelasi Content Likeability dan Content Credibility terhadap Consumer Acceptance pada Advertising Product Placement". Inter Komunika: Jurnal Komunikasi 7, n.º 2 (26 de abril de 2023): 15. http://dx.doi.org/10.33376/ik.v7i2.2011.
Texto completo da fonteResumo:
Technological growth in the era of globalization is increasing, not only is technology increasingly sophisticated, but culture is also easily spread. The Korean wave emerged in Southeast Asia in the 2000s covering several cultural contents such as music (K-pop), fashion (K- fashion), and television (K-drama) which are related to each other. Endless Korean Drama Vincenzo is a Korean drama that features a product or has a product placement, namely Kopiko candy, one of the companies from Indonesia trying to implement an advertising strategy. The research objective was to determine the relationship between content likeability and content credibility with Kopiko's product placement. This study uses Laswell's communication theory, cultivation theory as well as content likeability, credibility and product placement. The method used is quantitative by distributing questionnaires to 100 respondents. In this study, validity and reliability tests were carried out as a test for analyzing respondent data, as well as using a linear regression test to see the relationship between variables. The results of this study concluded that content likeability and content credibility can be the selling points of a product shown through a film or drama that places a product or product placement to be able to influence viewers who like Korean films or dramas Vincenzo.
8
Strejčková, Hana. "Site-Specific Author’s Drama". Amfiteater 9, n.º 2021-2 (30 de junho de 2022): 216–32. http://dx.doi.org/10.51937/amfiteater-2022-1/216-232.
Texto completo da fonteResumo:
The article discusses the role of the playwright in contemporary site-specific drama and the role of the director of site-specific performance. The study aims at three main areas: the author’s drama based on the recent history of the 20th century; the performative potential of the commonness and of oral history; and contemporary site-specific drama. As a playwright, the author focuses on the memories of witnesses and socially taboo topics. As a theatre director, she examines approaches for transforming into theatrical language the memory of place, the collection of data from oral history and burning issues. She looks at the relations between playwrights and site-specific performance. She observes the links among the topic, communication means and non-theatrical places. This qualitative longitudinal art research is based on experience from theatre practice, analysis and comparison of theoretical knowledge. The author gives examples of authorial plays and reports on their productions, specifically stating these dramas: Midnight in the Borderland (3. and 4. 5. 1950, a monastery), Three Chairs (Alzheimer’s disease, a retirement home), From Majdalenka to Madla (World War II, cellar), Hotel on the Corner (1932–1989, old theatre building). The study emphasises the need for a creative and attentive approach by the author, playwright, dramaturg and director to create a whole new world from the duality: ordinary and taboo. It turns out that the combination of a strong theme, an unusual place tied to the topic of the drama, and the participatory role (active/passive) of the audience can be an effective strategy and even “tactic” in strengthening the role of the author in drama after the year 2000.
9
Putro, Agung Prayitno, Herman J. Waluyo e Nugraheni Eko Wardhani. "Values of character education in the Opera Kecoa drama script by N. Riantiarno". Hortatori : Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, n.º 2 (25 de julho de 2019): 146–53. http://dx.doi.org/10.30998/jh.v1i2.49.
Texto completo da fonteResumo:
This study aims to describe the values of character education contained in a drama script. This research uses descriptive qualitative method with the subject of research is drama Opera Kecoa by N. Riantiarno. Data sources are obtained from places and events, informants, drama script, and documents. Data collection using document analysis techniques. As one form of literary work, Opera Kecoa drama script contains character education values. The values of character education in this drama script are shown through characterizations and the flow of events in each round. Based on the results of the analysis found ten character education values contained in the Oera Kecoa drama script, these values include: religious, social care, tolerance, hard work, discipline, democracy, patriotic, love peace, friendly, independent, creative, and responsibility . By reason of the values of these characters, the Opera Kecoa drama script, can be used as a medium of learning in the college literature.
10
Szatek, Elsa. "Moving Spaces: Mapping the Drama Room as Heterotopia". Education Sciences 10, n.º 3 (10 de março de 2020): 67. http://dx.doi.org/10.3390/educsci10030067.
Texto completo da fonteResumo:
This article is aimed at exploring the political characteristics of the drama space, which reflects, juxtaposes, and opposes particular sites in a participant’s everyday life, such as the school. By putting spatial theories to work, this article investigates the drama space belonging to an all-girls community group in Sweden, participation in which is voluntary and where the artistic work produced relies on a democratic process, with the girls’ input being vital. I conceptualise the drama room as a heterotopia that functions as an exclusive and excluding space as a well as a space of resistance. Based on interviews with the girls, this ethnographic study challenges the conventional notion that applied drama is only an interrelational matter between the drama participants. By examining the drama room’s role as the ‘other place’ in the girls’ everyday lives while being connected to ‘everyday’ places, this article demonstrates the drama room as an important space for the girls to have agency, there and elsewhere. When placing space and place in the foreground, a ‘dramaspaceknowledge’ emerges, the influence of which stretches beyond the drama room. This article argues that the girls’ dramaspaceknowledge is utilised when creating a performance and while challenging structures and norms elsewhere, such as in their schools and communities.
11
Chaîné, Francine, e Mariette Théberge. "Specialized Programs in Drama: a gateway to self and art in society". Revista Brasileira de Estudos da Presença 5, n.º 2 (agosto de 2015): 356–75. http://dx.doi.org/10.1590/2237-266048609.
Texto completo da fonteResumo:
Abstract: This article explores the unique contexts of two specialized drama education programs that offer adolescents from twelve to eighteen years of age the chance to create, perform, and appreciate works of art. Describing these two contexts helps to clarify how their respective missions support these young people in affirming their identities and constructing their world views. The drama program offered at La Maison Jaune, located in Quebec City, Quebec, allows students to explore the meaning of their experience of the creative process. The Centre d'Excellence Artistique De La Salle in Ottawa, Ontario, places drama training in a societal context where the educational practices contribute to artistic renewal and to the collective imagination.
12
Sarbin, Theodore R. "If These Walls Could Talk: Places as Stages for Human Drama". Journal of Constructivist Psychology 18, n.º 3 (julho de 2005): 203–14. http://dx.doi.org/10.1080/10720530590948737.
Texto completo da fonte
13
Suzi, V. N. "The Drama of the Hero is the Drama of the Author. Reflections on the Occasion of the 200th Anniversary of F.M. Dostoevsky". Язык и текст 8, n.º 4 (2021): 40–53. http://dx.doi.org/10.17759/langt.2021080406.
Texto completo da fonteResumo:
The article is dedicated to the anniversary of the Russian writer Dostoevsky. The article examines how Dostoevsky implements his deep metaphysical problems in his hero, in the artistic image of the character. The connection of the antagonist heroes with the author's protagonists is proved; sometimes they seem to change places.
14
Cardullo, Robert J. ""The Death of Salesmen": David Mamet’s Drama, "Glengarry Glen Ross", and Three Iconic Forerunners". Ad Americam 20 (31 de dezembro de 2019): 5–14. http://dx.doi.org/10.12797/adamericam.20.2019.20.01.
Texto completo da fonteResumo:
This essay places Glengarry Glen Ross in the context of David Mamet’s oeuvre and the whole of American drama, as well as in the context of economic capitalism and even U.S. foreign policy. The author pays special attention here (for the first time in English-language scholarship) to the subject of salesmen or selling as depicted in Mamet’s drama and earlier in Arthur Miller’s Death of a Salesman, Eugene O’Neill’s The Iceman Cometh, and Tennessee Williams’ A Streetcar Named Desire—each of which also features a salesman among its characters.
15
Edensor, Tim, e Jonas Larsen. "Rhythmanalysing marathon running: ‘A drama of rhythms’". Environment and Planning A: Economy and Space 50, n.º 3 (7 de dezembro de 2017): 730–46. http://dx.doi.org/10.1177/0308518x17746407.
Texto completo da fonteResumo:
This paper draws on Lefebvre’s rhythmanalysis to investigate the multiple rhythms of the Berlin Marathon, exemplifying and expanding understandings about the rhythms of places and mobilities. First, we discuss how isorhythmic order is imposed on the city and event by race organizers. Secondly, we show that a marathon depends upon the preparatory training or ‘dressage’ performed by the thousands who have made themselves ‘race-ready’. Thirdly, we explore the changing individual and collective rhythms that continuously emerge according to contingencies and stages of the race to compose an unfolding drama of rhythms that includes both arrhythmic and eurhythmic experiences.
16
Sais Martinez, Pere, e Dimitra Konstantopoulou. "LOS ESPACIOS DE GROTOWSKI: DESDE EL TEATRO POBRE HASTA EL DRAMA OBJETIVO". Acotaciones. Revista de Investigación y Creación Teatral 45 (18 de dezembro de 2020): 96–136. http://dx.doi.org/10.32621/acotaciones.2020.45.04.
Texto completo da fonteResumo:
Across the different periods of Jerzy Grotowski´s trajectory, from Poor Theatre to Objective Drama, the article detects and examines the close connection between action, space and place within both the con- ceptual and the practical framework of each one of them. The approach concerns, in particular, the flagship spaces and places of each period, that is, the Laboratory Theatre of Wroclaw, of Poor Theatre, the buildings and the surrounding countryside of Brzezinka, of Paratheatre, and the Barn and the Yurt of the University of Irvine, of Objective Drama. Being theYurt the only building constructed for Grotowski in his trajectory and according to his precise instructions, it deserves special attention as model space with respect to the pretensions of his work.
17
Nugroho, Aloisius Agus. "HALLYU SEBAGAI KASUS KOMUNIKASI PEMASARAN DAN KOMUNIKASI KORPORASI INTERNASIONAL". Jurnal InterAct 11, n.º 1 (17 de outubro de 2022): 49–55. http://dx.doi.org/10.25170/interact.v11i1.3557.
Texto completo da fonteResumo:
In international-marketing communication, there is a relatively new phenomenon, the name of which is hallyu, meaning Korean wave. The term hallyu refers to the global popularity of Korean pop culture, beginning with China, being followed by Japan, at the turn of the millennium. In fact, hallyu can be divided into three stages. The purpose of this research is to understand hallyu from the context of history. In the first stage, mostly younger generation from many parts of the world simply fall in love with the so-called K-drama and K-pop music. In the second stage, those who have been bewitched by K-drama and K-pop do travelling to South Korea, especially to shooting places of K-drama such as Nami Island. In the third stage, they will become consumers of almost everything that can remind them of K-drama or K-pop. At least, some of them have been bewitched by Korean corporate communication that is supported by the Korean government.
18
Rössler, Julia. "Symptomatic Spaces: Adam Rapp and American Eco-Drama in the Anthropocene". Journal of Contemporary Drama in English 10, n.º 1 (1 de maio de 2022): 148–63. http://dx.doi.org/10.1515/jcde-2022-0010.
Texto completo da fonteResumo:
Abstract This article situates two works by contemporary American playwright Adam Rapp – Faster (2002) and Ghosts in the Cottonwoods (2014) – in the wider context of the different traditions of ecological theatre that emerged in the United States in the twentieth century. These traditions can be characterised by their distinct spatial orientation, while similarly shifting focus away from the centrality of representing character and human subjectivity. Contemporary eco-drama retains this spatial orientation established by the landscape play (Gertrude Stein) and environmental theatre (Richard Schechner) but breaks with their displacement of character by developing an aesthetic mode which stages the formation of human subjectivity as deeply intertwined with concrete places. This article shows how Rapp’s plays turn places into “symptomatic spaces” in Una Chaudhuri’s sense that signify a deep interdependence between human subjectivity and nonhuman nature. My reading focuses on how Rapp’s plays contribute to the formation and the conceptualisation of a distinctly “Anthropocenic imaginary” in contemporary American drama.
19
Popovic, Dusan. "Pseudo-tragica Prodromea: The shadow of pathos over the glitter of the Byzantine secular literature". Zbornik radova Vizantoloskog instituta, n.º 56 (2019): 109–29. http://dx.doi.org/10.2298/zrvi1956109p.
Texto completo da fonteResumo:
By analyzing primarily the sources for the 1st through the 3rd books of the verse novel Rhodanthe and Dosicles by Theodore Prodromos the author of the paper attempts to point out an enormous influence exerted by the Euripidean drama on the emergence of motifs, common-places and tropes in this novel, as well as to emphasize, on the one hand, in which mesure these drama-components are consistent with the logical structure of a different literary genre, and on the other, how much they represent a ballast and a purely erudite ornament for the novelist, intended exclusively for the achievement of pathos.
20
Andhika, Yuditia Leo, Abdul Rahman e Adi Krishn. "TEKNIK EDITING DISKONTINUITI PADA DRAMA TELEVISI 44V". Capture : Jurnal Seni Media Rekam 9, n.º 1 (14 de março de 2018): 80–92. http://dx.doi.org/10.33153/capture.v9i1.2057.
Texto completo da fonteResumo:
This paper describes the creation of a television drama 44V. This work tells about the journey of a courier forwarder who works on a service offer. This work is packed with sitcoms and there is a social critique of the current situation of Indonesian society. Works created using discontinuity editing techniques. This editing technique is breaking the logic of space and time. Discontinuity editing places more emphasis on ignoring the principles and conventions of continuity editing. In combining several techniques with the discontinuity editing method, an editor is required to be creative aesthetically and skillfully enough to collaborate on such techniques either with transitions, visual effects and so forth.Keywords: 44V, discontinuity, and editing
21
NDiaye, Iwona Anna. "Badania nad współczesną dramaturgią rosyjską Walentego Piłata (1946-2022)". Acta Neophilologica 2, n.º XXIV (30 de junho de 2022): 261–72. http://dx.doi.org/10.31648/an.7852.
Texto completo da fonteResumo:
The article presents the profile of the Polish researcher Walenty Piłat – a respected expert in Russian dramaturgy. The literary output devoted to contemporary Russian drama is in the center of attention. Among the rich galaxy of Russian authors, one of the most important places in the literary outout of W. Piłat is occupied by dramatists such as Aleksandr Vampilov, Nikolai Kolada, Ludmila Pietrushevska and others. The author presents the most important publications of W. Piłat, including the monographs: The work of Aleksandr Vampilov. Problems of Poetics (1986), Contemporary Russian dramaturgy. The eighties (1995), On the threshold of the twenty-first century. Sketches on Contemporary Russian Drama (2000).
22
Dunleavy, Trisha. "Transnational co-production, multiplatform television and My Brilliant Friend". Critical Studies in Television: The International Journal of Television Studies 15, n.º 4 (17 de novembro de 2020): 336–56. http://dx.doi.org/10.1177/1749602020953755.
Texto completo da fonteResumo:
Rai/HBO co-production L’Amica Geniale/ My Brilliant Friend (2018–) provides an illuminating example of changing strategies for transnational drama co-production in television’s burgeoning ‘multiplatform’ era. Foregrounding institutional over textual analysis, the article places My Brilliant Friend ( MBF) within the industrial, creative and cultural contexts that have facilitated it. Important to these contexts is that transnational co-productions between non-US broadcasters and US-based premium networks are not only increasing but also exhibiting a new degree of cultural diversity. The article examines MBF’s origination as a literary adaptation, its genesis as a ‘cross-platform’ co-production, and its exemplification of changing drama commissioning strategies for Rai and HBO.
23
Doran, Greg. "Family, Places and the Island: An Interview with Kent Stetson". Canadian Theatre Review 128 (setembro de 2006): 53–57. http://dx.doi.org/10.3138/ctr.128.011.
Texto completo da fonteResumo:
Kent Stetson has written many plays, which have been performed widely. In 2001, The Harps of God won the Governor-General’s Award for Drama. Currently, Stetson is working on a novel, an adaptation of his play New Arcadia. As well, his play Horse High, Bull Strong, Pig Tight is being translated into French for a planned tour of France. The following interview took place on 29 December 2005 over coffee and cinnamon rolls in Charlottetown, PEL Greg Doran: How did growing up on PEl shape your view of the world or the country? Is there a different sensibility?
24
Rubenstein, Jeffrey L. "An Eschatological Drama: Bavli Avodah Zarah 2a–3b". AJS Review 21, n.º 1 (abril de 1996): 1–37. http://dx.doi.org/10.1017/s0364009400007601.
Texto completo da fonteResumo:
The homily near the beginning of Tractate Avodah Zarah of the Babylonian Talmud, folios 2a–3b, surely must be numbered among the most fascinating rabbinic compositions. A brilliant creation of the rabbinic imagination, the homily depicts the inauguration of the “world to come.” A richly detailed eschatological drama unfolds as God places a Torah scroll in his lap and summons those who busied themselves with Torah to collect their reward. While rabbinic literature teems with static descriptions of the glorious miracles that await the righteous in the next world and parallel illustrations of the painful sufferings the wicked should expect, extended narratives of the initial stages of the process are rare. Not the nature of the world to come, but the test for admission is the subject at hand.
25
Khan, Kehkashan. "RHYTHMIC BEAUTY IN THE PLAYS OF RENAISSANCE". International Journal of Research -GRANTHAALAYAH 3, n.º 1SE (31 de janeiro de 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3397.
Texto completo da fonteResumo:
The Theatres were very much in vogue in the Elizabethan England. For the spectators, theatres were not merely places of amusement & entertainment but also of social gathering & instruction. Both Marlowe & Shakespeare are great dramatists & poets of Elizabethan age. Their poetry & music lend a unique power & beauty to their plays.Marlowe, the predecessor of Shakespeare, infused his own soul into his characters like a lyric poet. He is regarded as the Morning Star of Song & the first & foremost lyricist of English Stage. He poetized the English dramas. His play Doctor Faustus reads more like a poem than a drama. His passage on Helen is one of the loveliest of lyrics. In its idealization of beauty, in its riot of colour, in its swift transition from one myth to another, in music & melody, in its passionate exuberance & abundance the passage remains unsurpassed.
26
Boldyreva, Tatyana V. "Media formats of post-drama theater". Semiotic studies 1, n.º 3 (29 de dezembro de 2021): 33–38. http://dx.doi.org/10.18287/2782-2966-2021-1-3-33-38.
Texto completo da fonteResumo:
The article is devoted to the study of the question of the existence of post-dramatic performances in the modern media environment, in particular, the media formats of site-specific performances are studied. The purpose of this study is to identify the mechanisms of interactivity, performativity and immersiveness in the media formats of post-drama theater. The article raises the question regarding the meaning of the media format concept used in media studies in its connection with theatrical practices. The basic components of the concept of media format are the technical characteristics and focus on the target public. The chosen methodology allows us to characterize the technical capabilities of modern media formats for creating the effects of performativity, interactivity and immersiveness. The empirical basis of the research is the podcast The Theater of Everyday Life. Site-Specific Performances for Everyday Places and Routes in the mobile application Yandex Music and performances in the application Mobile Art Theater. The article draws conclusions concerning the influence of technical and verbal means of interaction used in mobile applications and in VR performances on the emergence of the effects of performativity and immersiveness in the minds of the audience. It is pointed out that the mechanics of the performances under consideration are connected with the concepts of A. Artaud and H.-T. Lehman, in particular, draw a conclusion about the role of the audience in such performances.
27
Davis, Jim. "Jane Austen and the Theatre. By Penny Gay. Cambridge: Cambridge University Press, 2002; pp. xi + 201. £37.50 cloth." Theatre Survey 45, n.º 1 (maio de 2004): 141–42. http://dx.doi.org/10.1017/s0040557404330085.
Texto completo da fonteResumo:
Penny Gay's study moves between the influence of theatre and drama on Austen's novels and theatricality itself as a mode of representation. While theatrical performance is considered, Gay's analysis generally emphasizes the impact of dramatic literature rather than theatrical representation, genre rather than performance. Through reference to the work of eighteenth-century women playwrights, Gay also places Austen's work and contemporary theatre in pervasively “masculine” and “feminine” discourses.
28
Allen, Todd J., e Xiangdong Liu. "The Sociopragmatic Activities and Cultural Significance of an Izakaya". Journal on Asian Linguistic Anthropology 4, n.º 1 (1 de janeiro de 2022): 29–51. http://dx.doi.org/10.47298/jala.v4-i1-a2.
Texto completo da fonteResumo:
The izakaya is a ubiquitous destination in Japan for professionals, families, university students, and tourists alike. They are places for socialising, eating, doing business, making friends, and celebrating life, typically with the help of alcohol. While these places are found in every corner of Japan, they have been seldom analysed in light of the sociopragmatic activities that occur in them or their cultural significance. Thus, this study investigates the Japanese izakaya-based Netflix drama, 深夜食堂 Shin’ya Shokudō (‘midnight diner’). Through a sociopragmatic analysis of ten episodes of this drama, this study explores the progressivity of service encounters and describes other social activities that occur in this space. Other social activities include telling jokes and taking offense and alternative uses of the izakaya. In addition, this study proposes a contextual schema for initial service encounters and demonstrates how the izakaya can be used as a resource for mitigating stress and community support. The results show the significance of these spaces in Japanese society. The types of sociolinguistic activities that occur in an izakaya may not take place in other social settings in Japan, making them unique and offering researchers an opportunity to view particular sociolinguistic activities in a dramatic setting.
29
Giorgi, Edoardo. "Vișniec’s History of Communism: the “Psychopathology” and the Political “Trauma” in Socialist Heterotopies and Atopies". Studia Universitatis Babeș-Bolyai Philologia 68, n.º 2 (25 de junho de 2023): 243–64. http://dx.doi.org/10.24193/subbphilo.2023.2.14.
Texto completo da fonteResumo:
"Vișniec’s History of Communism: the “Psychopathology” and the Political “Trauma” in Socialist Heterotopies and Atopies. This contribution is focused on the famous and interesting drama written by the playwright Matei Vișniec and especially on the peculiarities of the communist psychiatric clinics. By the means of anthropology, this contribution hopes to shed a light on the hidden movements that concerns the management of these institutions, and on how the patients/prisoners were able to resist to some of the most disturbing hardships that were common in that period and in those places. This analysis has been conducted scene by scene, and presents therefore some in depth personal observations, accompanied by studies of great solidity directly regarding the drama but also analysing the general situation (like, for instance, some essays of Michel Foucault and Erving Goffman) that allow a bird-eye observation of the anthropological dynamics on stage. The analysis may as well result in new ways of though on this pièce and maybe even in some interesting debates, although the drama itself is not so recent. The primary goal is to demonstrate how the primigenial vein of the Absurd, present in Vișniec, has become much more bounded to history itself, and to stress out the strong ethicality of the drama. Keywords: communism, psychiatric clinics, Pan-anopticon, alienation, mental resistance, wooden language, anomic patients."
30
Germanou, Maria. "‘The Dead are Still Looking at Us’: Harold Pinter, the Spectral Face, and Human Rights". New Theatre Quarterly 29, n.º 4 (novembro de 2013): 360–69. http://dx.doi.org/10.1017/s0266464x13000687.
Texto completo da fonteResumo:
In his essays and speeches, Harold Pinter addressed issues that are central in political and philosophical debates: national identity and the other, the ethics of responsibility, the relational nature of human rights, the politics of death. Discussing his treatment of these issues, Maria Germanou sees Pinter as a Foucauldian intellectual engaged in the politics of truth, and argues that in these texts the postmodern writer enables the political activist. Pinter subjects to scrutiny naturalized political rhetoric, discloses the affinity between meaning and power, and challenges the legitimacy of established hierarchies and their practices. His ultimate purpose is to restore ethics to politics. To this end, he places responsibility for the other at the core of his problematic in ways similar to Emmanuel Levinas, and invites western democracies to redefine ‘humanity’ and the ‘international’ community by taking into consideration accountability for those allowed to die in the name of an alleged justice. Maria Germanou is Professor in English Drama at the University of Athens. She has published in Modern Drama, Comparative Drama, Arbeiten aus Anglistik und Amerikanistik, Gramma, and elsewhere. Since 2008 she has been co-editor of Synthesis, an e-journal of comparative literature.
31
Eun -Joo Jeon. "Analysis of question speech acts during conversations at work places in a TV drama". Journal of Speech Communication ll, n.º 22 (junho de 2013): 221–58. http://dx.doi.org/10.18625/jsc.2013..22.221.
Texto completo da fonte
32
Jang, Kyungjae. "Tourism and local identity generated by NHK’s morning drama: The intersection of memory and imagination in Kobe". East Asian Journal of Popular Culture 5, n.º 2 (1 de agosto de 2019): 159–76. http://dx.doi.org/10.1386/eapc_00006_1.
Texto completo da fonteResumo:
This article shows how the interplay of local memories, the imagined worlds of media products and tourism can redefine the image of a particular place. Using the concepts of ‘places of memory’ (Nora) and ‘places of the imagination’ (Reijnders), the author analyses how NHK’s morning drama (asadora) Kazamidori (The Weather Vane) (1977–1978) had a significant impact on the development of Kobe’s Kitanochō district. The fusion of local memory and the world imagined in the series has resulted in the foreign settlers’ mansions (so-called Ijinkan) being developed into a tourism resource and declared a national cultural heritage. As the example of Kazamidori shows, certain aspects of local history are accentuated and others deliberately ignored in such processes of heritage building, while both the media and tourism can play an important role in placemaking.
33
Yudkin, Ihor. "Intention, Idioms, Myth: Towards the Morphology of Drama". Culturology Ideas, n.º 14 (2'2018) (2018): 19–29. http://dx.doi.org/10.37627/2311-9489-14-2018-2.19-29.
Texto completo da fonteResumo:
It is drama where the powers of entirety of a text as an ideal object reveal themselves most fully because the events are conceived in the manner of diegesis being mediated with the inner world of subjects, so that the text is built up as “the communication about communication”, that is as a message about the messages of the dramatis personae. Communication as the representation of purposefulness entails the transformation of deeds into messages that bear the intentional conflicts. In its turn, intentionality generalizes modal and aspectual parameters of a text where the particular place is occupied with the infinitive mode as the representation of the places of indefiniteness to be reconsidered and interpreted. The state of indefiniteness (anti-emphasis) of the actual subjective-predicative relations determines the opportunities of the hermeneutic and heuristic interpretation as the source for idioms’ formation. In particular the differences in ascribing predicative or subjective values to the same locution become the source of its idiomatic transition within the dramatis personae’s cues. Drama is a kind of the self-referential text that is closed within the circle of the communication’s participants and is developed as the procedure of solving the riddles that if directed towards the point of the elucidation of circumstances (anagnosis).
34
Belliveau, George. "Struggle to Success: Collective Drama on Anti-Bullying". Canadian Theatre Review 117 (janeiro de 2004): 42–44. http://dx.doi.org/10.3138/ctr.117.011.
Texto completo da fonteResumo:
Bullying in schools continues to be a prevalent and complex challenge for administrators, teachers, parents and students. In her recent book The Bully, the Bullied, and the Bystander, Barbara Coloroso claims that “[t]housands of children go to school every day filled with fear and trepidation; others feign illness to avoid being taunted or attacked on the way to school or in the school yard, hallways, and bathrooms” (xvi). The consequences of bullying have led a number of victims to extreme measures, including suicide. To address the severity of bullying, a number of dramatic productions that deal with the issue have been produced, in different places in Canada, for school-aged audiences. A few recent examples include Don’t Say a Word, a collective drama on bullying, written by Vancouver teenagers and facilitated by David Diamond, at Headlines Theatre, in 2003; Theatre Direct Canada’s Ontario school tour, in 2003, of Maureen Hunter and Martha Brookes’ I met a Bully on the Hill; and Joan MacLeod’s The Shape of a Girl, which toured several Canadian cities between 2001 and 2003, with a number of performances attended by school groups. These represent but a few samples of the various Canadian productions addressing the issue of bullying.
35
Rader, Richard, e James Collins. "Introduction". Ramus 42, n.º 1-2 (2013): 1–4. http://dx.doi.org/10.1017/s0048671x00000035.
Texto completo da fonteResumo:
In 1990 Jack Winkler and Froma Zeitlin dropped a bomb on the study of Greek drama with the publication of Nothing to Do with Dionysos? Taking their departure from the narrow formalist historicism of prior scholarship, with its interest in properly historical persons, events and trends, Winkler and Zeitlin shifted their attention toward ‘the entire social context of the [dramatic] festival’ (3). Greek drama would now be a window into the sociocultural pulse of fifth-century Athens. This new praxis came to be known as ‘cultural poetics’, and its practitioners viewed Greek drama as an embedded and constitutive element of a society in constant negotiation with itself. Drama now reflected or symptomatised historical, religious and political context. As Simon Goldhill put it in the introduction to his study of the Oresteia:Tragedy takes place…at the moment of maximal unresolved tension between…systems of ideas… It explores the different and competing ideals, different and competing obligations, different and competing sense of words in the developing polis, different and competing ideas of glory and success… It discovers tensions and ambiguities with the very civic ideology of democracy that is the context of tragedy's performance… Tragedy takes the developing notions, vocabulary, commitments of democracy and places them under rigorous, polemical, violent and public scrutiny.The impact and aftershock of Nothing to Do with Dionysos? can still be felt today. In one way or another, we might say, we are all the children (and grandchildren) of Winkler and Zeitlin. The question remains, however, what type of children we have been in the time since (kaloi men k'agathoi, kakoi de k'aischroi?) and how we will honour their legacy as we move forward with the study of Greek drama.
36
Razan, Insani Aulia, e Beta Ayodya. "ANALISIS PENTAD TERHADAP DRAMATISME EMOSIONAL MENTERI SOSIAL REPUBLIK INDONESIA TRI RISMAHARINI". Jurnal Sosial-Politika 3, n.º 1 (9 de julho de 2022): 51–57. http://dx.doi.org/10.54144/jsp.v3i1.47.
Texto completo da fonteResumo:
Dramatism studies the language and its application to the audience. In drama, life problems are a source of motivation for the actions of the actors involved in it which reflect the character and thoughts, something cannot be said as drama without using a situation that contains a conflict. Drama is like a theatrical performance, it requires the presence of an actor. This study places the Minister of Social Affairs of the Republic of Indonesia Tri Rismaharini as the object of research. Inaugurated as social minister in the midst of the crisis of the Covid-19 pandemic, Risma has been faced with chaos in the social assistance data. This research is included in descriptive research. Data analysis was performed using pentad analysis from Kenneth Duva Burke. This research resulted in an identification of the rhetorical style of the Minister of Social Affairs, Tri Rismaharini. Risma presents herself in public as an emotional Minister. The weight of pentad in the activities of the Minister of Social Affairs of the Republic of Indonesia, Tri Rismaharini, lies in the agency and the scene. Even though Risma is a politician who is known to be angry and fierce, Risma goes through various scenes to achieve the realization of good governance.Keywords : Dramatism, Risma, Angry, Rhetoric.
37
N, Ranjan. "Places where Women's Rights are denied in Tholkappiyam". International Research Journal of Tamil 4, n.º 4 (16 de outubro de 2022): 230–38. http://dx.doi.org/10.34256/irjt22430.
Texto completo da fonteResumo:
Tholkappiyam is one of the fundamental reasons why the Tamil language stands high today. Tholkappiyam, the oldest, most unique, and the older books that originated in Tamil are the foremost of all the rare books of Tamil. There are so many messages in Tholkappiyam that it can be said that there are no principles that are not there. Tholkappiyam allows us to study contemporary linguistics and talk about literature. The fact that Tholkappiyam also accommodates various literary principles such as Pillai Tamil, folk literature, drama, travel literature, geographical theories, morphology, aesthetics, sociology, science, botany, etc., speaks volumes about the importance of Tholkappiyam to the world. Is there a version of feminist news within the Tholkappiyam? Tolkappian lovers may think that it is wrong to see that. However, Tholkappiyam's uniqueness is that tholkappiyam gives space to carry out research using modern theory. The fact that the fields of study in Tholkappiyam are incalculable is perfectly clear, as a hill in a plain. This article also explores whether the rights of the women who lived in the time of the Tolkappians have been taken away and how should women understand the Tolkappian text. It is certain that this article will look at the methods in which women's rights are recorded in the Tholkappiyam and their cause from the point of view of women.
38
Cilliers, L. "Aristoteles se siening van dramatiese spanning in die tragedie en die invloed daarvan op moderne dramateorie". Literator 13, n.º 2 (6 de maio de 1992): 27–40. http://dx.doi.org/10.4102/lit.v13i2.736.
Texto completo da fonteResumo:
Aristotle’s remarks about dramatic suspense in the Poetics are so diffuse and divergent in nature that it seems highly unlikely that he meant them to be regarded as a systematic theory on this subject. Yet his views in this regard - although set down in writing some 2400 years ago - are still in many respects the basis of modern drama theory. The emphasis which he places on the linear plot and on causal connection is an early recognition of two very important requisites for unity in a drama. The phases in the course of action which he pointed out and on which scholars like Scaliger, Freytag and Verhagen have built their theories, are still accepted in broad outline today. The desirability of concentrated action and of the identification of the spectator with the dramatis personae are factors which are still valid. And finally, his discussion of the effect which tragedy has on the spectators is the point of departure of modern reader-oriented theories.
39
Andreadi, Ioli. "On Women in Ancient Greek Culture, Drama and Education". International Journal of Scientific Research and Management 11, n.º 06 (25 de junho de 2023): 2796–805. http://dx.doi.org/10.18535/ijsrm/v11i06.el01.
Texto completo da fonteResumo:
Women in ancient Greek culture, drama and education is a question which has been at the centre of the theoretical debate and creative experiences at least from the middle of the twentieth century until today. This paper proposes to revisit this question based on three principles. First of all, it refers not only to the dominant model of Athens but also to other parts of Hellenism, whose political systems may be democracies, tyrannies or hereditary kingdoms. Secondly, it draws its examples from the Greek metropolis of the 5th and the 4th centuries B.C., but also from other places and periods, which cover an area from the Mediterranean to Asia and a period long before and after the classical era. Thirdly, it envisages the question of ancient Greek women not only from the angle of culture, meaning literature and drama, but more generally in all the senses contained in the ancient term paedeia (παιδεία), including education. To clarify the meaning of this last point I would say that I am trying to highlight that what ancient Greek women were, depended in many ways on what their paedeia consisted in and, more precisely, on how they were educated.
40
Lucena, Tiago Franklin Rodrigues, Ana Paula Machado Velho, Vinicius Durval Dorne e Diana Maria Gallicchio Domingues. "The Drama of Dengue Fever: Civic-Oriented Journalists, Community and Artists Fighting Dengue". Leonardo 51, n.º 2 (abril de 2018): 199–200. http://dx.doi.org/10.1162/leon_a_01529.
Texto completo da fonteResumo:
This paper describes a transdisciplinary approach that takes places in South of Brazil with the aim to contribute with an eco-bio-social problem: dengue fever. Inspired by enactive theories about relation between body x environment, the authors present here a nontraditional multifaceted bottom-up intervention, designed by civic-oriented journalists and artists to promote health and mobilize a small community in Maringá. The intention is to promote healthier behavior in a participatory perspective when citizens can produce and share their narratives. The content was used as creative material to produce multimedia news, sketch and prototype mobile apps with the support of community.
41
Morrison, James. "The House of Mirth". Film Quarterly 55, n.º 1 (2001): 49–51. http://dx.doi.org/10.1525/fq.2001.55.1.49.
Texto completo da fonteResumo:
The great British filmmaker Terence Davies adapts Edith Wharton's American classic, The House of Mirth, and the sensibilities of author and filmmaker mesh unexpectedly, producing a film of uncommon delicacy. Simulating the traditional costume drama as it has been codified by such directors as James Ivory, Davies actually works against the most entrenched conventions of the genre by countering naturalism with artifice. This review of Davies's film examines the aesthetic strategies of this extraordinary adaptation, and places the film in the context of Davies's work and contemporary art cinema more generally.
42
Angel-Perez, Elisabeth. "“I name all my plays after places”: David Greig in conversation with Elisabeth Angel-Perez". Shakespeare Bulletin 41, n.º 1 (março de 2023): 51–61. http://dx.doi.org/10.1353/shb.2023.a907990.
Texto completo da fonteResumo:
Abstract: This interview between Elisabeth Angel-Perez and David Greig, which took place on 16 January 2023 over WhatsApp, was conducted specifically for this special issue of Shakespeare Bulletin . The conversation focuses on Greig’s use of Shakespeare as a matrix for contemporary drama. Greig stresses the geographical and linguistic displacements in his play Dunsinane (2010), a sequel to Shakespeare’s Macbeth , which allowed him to map out a conflictual contact zone between an imperialistic power and a country that has been colonized. He explains how Dunsinane serves as a political parable—for contemporary Scotland, but also the wars in the Middle East and Ukraine—while at the same time decentering Shakespeare as a cultural hegemonic matrix.
43
Manhal, Ali Zaid. "The Structure of the Place and Its Transformations in TV Drama". International Journal of Religion 5, n.º 11 (7 de julho de 2024): 3335–44. http://dx.doi.org/10.61707/ccvr1338.
Texto completo da fonteResumo:
The diversity of narrative methods has opened up new horizons in the process of recounting events and entering into narrative sequences, after which the dramatic text follows varying levels in the movement of dramatic events. This overlap in the narrative has made the artworker have multiple options in shaping his graphic structure, beginning with the formation of the logical introduction, the appearance of the actor, and leading to conflict and confrontation and the creation of tension and excitement. These methods, the multiple reading of the dramatic text, the formation of events, the building of a vision, the treatment, the development of excretive solutions and the creation of a virtual world, run in many strange and fantasi places, for those worlds, and the transformations of the dramatic event accompanied by a shift in space and time. Based on the movement of the operator, the search for its objective, the overlapping of the narrative systems, and its use in accordance with the narrative sequences created by the artworkmaker, the recipient is able to keep track of the events and expand the narrative of the events, as determined by the artwork industry, thus creating a beautiful response and arriving at the composition of the meaning of the visual output. Therefore, the problem of research can be formulated with the following question: What are the ways in which the dramatic narrative and spatial intuitions can be reflected in the output? The aim of the research is to detect dramatic robotics and spatial structure transformations in visual output.
44
Borhani, Maya Tracy. "Walking, Talking, Performing in Place: Learning from/with/on the Land". LEARNing Landscapes 13, n.º 1 (13 de junho de 2020): 67–75. http://dx.doi.org/10.36510/learnland.v13i1.1003.
Texto completo da fonteResumo:
This autoethnographic essay describes an ambulatory workshop with fellow graduate students, a walking tour to remote parts of campus where we paused to consider writing prompts and to create short performative sketches highlighting the nature of our relationships to the land around us. In this reflection on our “walk and talk,” I consider how teachers and students co-create what we learn together, the mysteries of engaging in interactive drama and poetry methods, and the performative ways in which we might come to know the places where we live and work more intimately and more imaginatively.
45
Vélez-Sainz, Julio. "Silencio de reyes negros: La Comedia Trofea de Torres Naharro y la cartografía de la colonización africana". Bulletin of the Comediantes 74, n.º 1 (2022): 179–95. http://dx.doi.org/10.1353/boc.2022.a927754.
Texto completo da fonteResumo:
Abstract: This article considers how Bartolomé de Torres Naharro's Comedia Trofea (1517) represents the process of global colonization of the African and Southeast Asian coasts initiated with the Portuguese imperial expansion of the mid- to late fifteenth century. This drama, in essence, maps an emerging empire, highlighting key protagonists and places. Analysis here concentrates on the drama's parade of African kings (Monicongo, Mandinga, Capa, Milindo, Aden), considering how the representation of these rulers on stage proffers a cartography that supersedes the longstanding European conception of Africa that had remained entrenched from the influential world map of Claudius Ptolemy dating from Antiquity to the mid-fifteenth century. New place names and ethnicities evoked within the Comedia Trofea align with European imperialist projects and colonization, both justified in the drama with reference to evangelization and a Eurocentric notion of a civilizing process . This study also ponders the implications of this play's composition and performance in the context of ostentatious courtly festivities, where the aim was to elicit orientalist wonder through the representation of African kings.
46
Matthews, Kate. "Textual Spaces / Playing Places: An Exploration of Convent Drama in the Abbey of Origny-Sainte-Benoîte". European Medieval Drama 7 (janeiro de 2003): 69–86. http://dx.doi.org/10.1484/j.emd.2.300415.
Texto completo da fonte
47
Harahap, Reza Ramadhani, e Tomi Hendra. "Pesan Dakwah dalam Film Rentang Kisah (Analisis Semiotika Roland Barthes)". Journal of Da'wah 1, n.º 2 (5 de dezembro de 2022): 209–36. http://dx.doi.org/10.32939/jd.v1i2.1514.
Texto completo da fonteResumo:
Da'wah is an exertion to construct the conditions that can help conversion the chaging of thoughts, beliefs, attitudes, and Islamic behaviors. Basicly da'wah is approved in mosques, as well as in public places by gathering societies as is mad'u, but similarly in modern era like today, da'wah has used complexity technologyy, one of them is film. The series film with a biographical drama genre, but it covers the meaning of da'wah messages, such as messages of aqidah, sharia and morals. This paper tries to expose the message of da'wah by using the semiotic approach of Roland Barthes.
48
Heiden, Bruce. "The Placement of ‘Book Divisions’ in theIliad". Journal of Hellenic Studies 118 (novembro de 1998): 68–81. http://dx.doi.org/10.2307/632231.
Texto completo da fonteResumo:
All editions and translations of Homer'sIliadpresent the epic as a series of twenty-four segments always marked off in the same places. In this respect theIliadconforms to, and seems even to originate, a practice in which narratives of any considerable length are almost always presented in marked segments, usually calledchapters.Similarly, dramas, except very short ones, usually run as a series ofactswhose dimensions are determined in the composition (i.e., not afresh with each performance). Acts may be marked by curtains, intermissions or briefer pauses, or other variations in the performance: in ancient Greek drama the segmentation is unmistakeably marked by the placement of choral lyrics (Arist.Poet.1452b). It is not exactly clear why the chapter and the act should be so indispensable, but authors and audiences alike know intuitively that they are. Yet many scholars since antiquity have believed that theIliadand theOdysseyoriginally lacked marked segmentation, and that the now-familiar presentation was imposed upon them later by someone other than their composer(s). Even today, when few scholars see profit in analyzing theIliadandOdysseyinto earlier and later strata, the so-called 'book divisions’ continue to offer a tempting target for analytic criticism.
49
Gör. Gülşah ÜNER, Arş, e Doç Dr Ebru ERDOĞAN. "DRAMA FİLM MEKANLARINDA KULLANILAN DONATILARIN SEÇİLMİŞ FİLMLER ÜZERİNDEN TARİHİ SÜRECİNİN OKUNMASI / Reading The Historical Process Of The Equipment Used In Drama Movie Places Through Selected Movies". International Journal of Interdisciplinary and Intercultural Art 12, n.º 12 (2021): 155–70. http://dx.doi.org/10.29228/ijiia.155.
Texto completo da fonte
50
Harutyunyan, M. "THE COVERAGE OF THE THEATRICAL LIFE OF ARTSAKH IN THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE NEWSPAPER “KARABAKH” (1911-1912)". ASJ 1, n.º 50 (1 de julho de 2021): 4–9. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.50.106.
Texto completo da fonteResumo:
Thus, summarizing our scientific research, we can clearly emphasize that theatrical art flourished in Artsakh in the second half of the 19th century and the beginning of the 20th century. It should be noted that until the second half of the 19th century, the Armenians of Artsakh had their theatrical traditions for centuries. There was theater in dance art, at parties and events. But there was no professional theater yet, preconditions were created for that only when in 1865 famous figures of the Armenian theater Gevorg Chmshkyan, Mihrdat Americyan and Sedrak Mandinyan came to Shushi. And the Mkrtich Khandamiryan Theater was built in Shushi in 1891. It had a 350-seat hall.
Separate issues related to the socio-economic, political and cultural events in Artsakh were covered in almost all issues of the three-day literary-social newspaper "Karabakh". Covering the theatrical art of Artsakh in 19111912, the newspaper emphasized that the theater continued to flourish in that period. Theatrical performances took place in different parts of Artsakh. A number of interesting and multi-genre theatrical performances took place at the Diocesan school of Shusha, at the Mariamyan girls 'school, at the Hripsimyan girls' school, at the school of the Saint Astvatsatsin church of Aguletsots, at the school of boys of the Saint Astvatsatsin church of Megretsots, at the Mariam-Ghukasyan school, at the school of Realakan. A number of interesting and multi-genre theatrical performances also took place at the Diocesan School of Shushi, at the Girls' School of Mariamyan, at the Girls' School of Hripsimyan, at the school of Aguletsots St. Astvatsatsin Church, at the Boys' School of Meghretsots St. Astvatsatsin Church, at the school of Mariam-Ghukasyan, at the school of Realakan, at kindergartens, in private homes of wealthy people and at other places at that time.
Numerous multi-genre performances also took place in 1911-1912: "Adam and Eve" Vardanank, " The savage", "The Charlatan", "Heart is a mystery", "Naughty", "The Valley of Tears", "The Engaged" drama, "Modern Heroes" comedy, famous playwright Gordin's drama "The devil", the drama "Christine", Nardos' drama "The Killed Dove", Measnitsky's drama "I died" and other performances.