Hasil untuk "Drama"

E. Ostrom, Thomas Dietz, N. Dolšak et al.

he “tragedy of the commons” is a central concept in human ecology and the study of the environment. The prototypical scenario is simple. There is a resource—usually referred to as a common-pool resource—to which a large number of people have access. The resource might be an oceanic ecosystem from which fish are harvested, the global atmosphere into which greenhouse gases are released

Srikanth Malla, Chiho Choi, Isht Dwivedi et al.

Considering the functionality of situational awareness in safety-critical automation systems, the perception of risk in driving scenes and its explainability is of particular importance for autonomous and cooperative driving. Toward this goal, this paper proposes a new research direction of joint risk localization in driving scenes and its risk explanation as a natural language description. Due to the lack of standard benchmarks, we collected a large-scale dataset, DRAMA (Driving Risk Assessment Mechanism with A captioning module), which consists of 17,785 interactive driving scenarios collected in Tokyo, Japan. Our DRAMA dataset accommodates video- and object-level questions on driving risks with associated important objects to achieve the goal of visual captioning as a free-form language description utilizing closed and open-ended responses for multi-level questions, which can be used to evaluate a range of visual captioning capabilities in driving scenarios. We make this data available to the community for further re-search. Using DRAMA, we explore multiple facets of joint risk localization and captioning in interactive driving scenarios. In particular, we benchmark various multi-task pre-diction architectures and provide a detailed analysis of joint risk localization and risk captioning. The data set is available at https://usa.honda-ri.com/drama

Chengran Yuan, Zhanqi Zhang, Jiawei Sun et al.

Motion planning is a challenging task to generate safe and feasible trajectories in highly dynamic and complex environments, forming a core capability for autonomous vehicles. In this paper, we propose DRAMA, the first Mamba-based end-to-end motion planner for autonomous vehicles. DRAMA fuses camera, LiDAR Bird's Eye View images in the feature space, as well as ego status information, to generate a series of future ego trajectories. Unlike traditional transformer-based methods with quadratic attention complexity for sequence length, DRAMA is able to achieve a less computationally intensive attention complexity, demonstrating potential to deal with increasingly complex scenarios. Leveraging our Mamba fusion module, DRAMA efficiently and effectively fuses the features of the camera and LiDAR modalities. In addition, we introduce a Mamba-Transformer decoder that enhances the overall planning performance. This module is universally adaptable to any Transformer-based model, especially for tasks with long sequence inputs. We further introduce a novel feature state dropout which improves the planner's robustness without increasing training and inference times. Extensive experimental results show that DRAMA achieves higher accuracy on the NAVSIM dataset compared to the baseline Transfuser, with fewer parameters and lower computational costs.

Weiqi Wu, Hongqiu Wu, Lai Jiang et al.

Drama is a form of storytelling inspired by human creativity, proceeding with a predefined storyline, carrying emotions and thoughts. This paper introduces \emph{LLM-based interactive drama}, which endows traditional drama with an unprecedented immersion, where a person is allowed to walk into it and interact with the characters and scenes. We define this new artistic genre by 6 essential elements-plot, character, thought, diction, spectacle and interaction-and study the entire pipeline to forge a backbone \emph{drama LLM} to drive the playing process, which is challenged by limited drama resources, uncontrollable narrative development, and complicated instruction following. We propose \emph{Narrative Chain} to offer finer control over the narrative progression during interaction with players; \emph{Auto-Drama} to synthesize drama scripts given arbitrary stories; \emph{Sparse Instruction Tuning} to allow the model to follow sophisticated instructions. We manually craft 3 scripts, \emph{Detective Conan}, \emph{Harry Potter}, \emph{Romeo and Juliet}, and design a 5-dimension principle to evaluate the drama LLM comprehensively.

Tugce B. Arda Tuncdemir

ABSTRACT This research focuses on the use of creative drama as a tool to create an engaging and positive learning environment that improves social relationships and helps knowledge acquisition. The study explores preservice teachers’ comprehension, teaching methods, professional development experiences, and attitudes toward play and creative drama. Throughout 15 weeks, twelve preservice teachers participated in the Creative Drama Module. The data sources included interviews, weekly reflections on the drama module, teaching practices, the researcher's journal, and documents. The results indicate that the Module enhances preservice teachers’ confidence, abilities, and expertise in incorporating creative drama activities into their lessons.

Senyu Han, Lu Chen, Li-min Lin et al.

Large language models have demonstrated their capabilities in storyline creation and human-like character role-playing. Current language model agents mainly focus on reasonable behaviors from the level of individuals, and their behaviors might be hard to constraint on the level of the whole storyline. In this paper we introduce IBSEN, a director-actor coordinate agent framework that generates drama scripts and makes the plot played by agents more controllable. The director agent writes plot outlines that the user desires to see, instructs the actor agents to role-play their characters, and reschedules the plot when human players participate in the scenario to ensure the plot is progressing towards the objective. To evaluate the framework, we create a novel drama plot that involves several actor agents and check the interactions between them under the instruction of the director agent. Evaluation results show that our framework could generate complete, diverse drama scripts from only a rough outline of plot objectives, meanwhile maintaining the characteristics of characters in the drama. Our codes and prompts are available at https://github.com/OpenDFM/ibsen.

Kevin Hunt

This article addresses the fundamental concept underpinning Jonathan Glazer's The Zone of Interest, which recognizes selective empathy and extraordinary empathy dissonance within our contemporary cultures as a continuum, not a moment. The article uses Michel Serres's philosophical process to provide an ontological and epistemological framework within which The Zone of Interest can be understood analogously as a warning about darkness enveloping the world. Glazer has emphasized the axiom of his film is focusing upon the present. The Zone of Interest asks questions about humanity's contemporary cultural sensibilities, which determine how societies engage with diversity, difference, and the multiplicities of perspective that are an inescapable part of the global geopolitical landscape. Serres's process is inherently analogical, recognizing patterns of knowing and being that recur isomorphically across space and time. This article brings together the immersive sensibility mediated through the screen – situating The Zone of Interest as a cinematic experience that elevates sound over vision – with Serres's assimilation of Lucretian atomism, which links materialism and ethics; the importance of noise as a source of knowledge within Serresian thought; and a topological approach to time and space, which shapes the analogical, qualitatively relational, processes characteristic of Serres's philosophy.

Jianfu Li

This article presents a discussion about Xiangtong Xi (香童戏), a traditional musical theatrical form associated with the Baoshan area of China’s Yunnan province. Xiangtong Xi drama originated from the folk religious and mystical rites of the southwestern regions of China. It organically combines elements such as singing, recitation, acting and martial arts techniques that are characteristic of the musical culture of the region. This genre has its own cult music and traditional performance style. At the same time, supporting and preserving the traditions of their art, Xiangtong Xi artists throughout the history of its existence have developed and continue to develop Xiangtong Xi music by studying the singing melodies and musical styles of other cultures, musical genres and movements and introducing their elements into their performances. The basis for such borrowings is primarily local folk music and songs, as well as other traditional musical genres of the region. Keywords: Xiangtong Xi, musical drama, ritual music, religious music, Prince’s Chant, Even Chant, Universal Chant, Chant of the Black God, plague god’s chant, percussion instruments For citation: Li Jianfu (2025). Traditional Regional Features in Xiangtong Xi Musical Drama. Contemporary Musicology, 9(2), 134–150. https://doi.org/10.56620/2587-9731-2025-2-134-150

Silja Weber

This is not a study, but a research note on academic writing practices in our field, whose purpose it is to serve as a foundation for discussion. It provides a brief introduction into researcher reflexivity, my own positioning towards the topic, and a numerical thematic overview of authorial presence (pronouns, third-person terms, and their semantic functions) in data-based research articles published in the Scenario journal over the last ten years. I do not draw conclusions, but from the angle of researcher reflexivity, I submit questions with respect to clarity of premises and ethics, for possible consideration by future authors in our field.  

Michał Mróz

The author explores the issue of “ludonarrative dissonance”, a term developed by the game designer C. Hocking in his critique of the game BioShock. The author explains Hocking’s arguments and then expands on the term, disagreeing with Hocking. In the case of BioShock, the author interprets the dissonance not as a design flaw but as a deliberate narrative strategy that momentarily distances the player from the game’s fiction to emphasize its metanarrative dimension. The author argues that ludonarrative dissonance is itself part of videogame poetics, thus echoing the works of F. Seraphine and P. Grabarczyk & B.W. Kampmann. The author then examines how ludonarrative dissonance may appear in vast, nonlinear open-world cRPGs. An analysis of examples from The Elder Scrolls: Skyrim, Fallout 3, and Fallout 4 reveals various instances of unintended dissonance. Finally, the author compares these games to Fallout: New Vegas, presenting it as an example of harmonizing the narrative – the main motifs and story – with the narrativity of gameplay, including rules, mechanics, and vast player agency.

Ferhat Zengin, Uğur Baloğlu, Yıldız Derya Birincioğlu

Dijital çağın getirdiği teknolojik dönüşümler, görsel kültür pratiklerini ve izleyici deneyimlerini önemliölçüde değiştirmektedir. Bu değişim özellikle dijital yerlilerin medya tüketim alışkanlıklarında belirginbir şekilde görülmektedir. Bu araştırma, etkileşimli sinemanın sunduğu görsel ve işitsel teknikler ileizleyicilerin görme kültürü ve görme politikalarını nasıl yapılandırdığı konusunu incelemektedir. Çalışma,sinemanın dijitalleşmeyle gelişen anlatım olanaklarının izleyiciye hikâyeyi yönlendirme ve yönetebilmeimkânı sunmasına, dolayısıyla izleyici pratiklerinde ortaya çıkan değişimlere odaklanmaktadır.Araştırmanın kuramsal çerçevesi, etkileşimli ve siber drama ile çizgisel olmayan anlatı bağlamlarındasinema-izleyici ilişkisinin geçirdiği dönüşümleri ele almaktadır. Nitel araştırma yöntemleri arasında yeralan fenomenolojik desen üzerine kurulu olan bu araştırmada, 10 katılımcıya Late Shift interaktif filmiizletilerek derinlemesine görüşmeler yapılmış ve elde edilen veriler betimsel ve tematik analiz teknikleriyleçözümlenmiştir. Araştırmanın bulgularına göre izleyiciler, interaktif film deneyiminde yaratma, yönetmeve temsil etme yanılsaması içerisinde yeni bir özdeşleşme, görme kültürü ve seyir deneyimi içerisinegirmektedir. Çalışma, interaktif sinemanın geleneksel sinemadaki tekil karakter özdeşleşmesini aşarakizleyiciye karakter, yönetmen ve senarist rolleri arasında dinamik geçişler sunan katılımcı bir deneyim yarattığını ve bu sayede salt teknolojik bir yenilikten öte kültürel bir paradigma değişimini temsil ettiğiniortaya koymuştur.

Jason M. Wirth

This is a philosophical rumination on Shawn Loht’s important extension of “film as philosophy” into a Heideggerian phenomenological account of the philosophical response that cinema can engender. After considering the importance of these kinds of approaches, I turn to Loht’s phenomenological engagement with Terrence Malick’s early masterpiece, Days of Heaven (1978). After sympathetically reviewing his “interpretation”, I expand upon its delineation of “earth and world” to include the “fallenness” of the world as well as the possibility of a metanōetic awakening to the vocation of “mud doctor”, that is, to heal the rift between earth and world, a rift made more exigent by world war, economic exploitation, and the ecological catastrophe of the Anthropocene.

Vassilis Zakopoulos, A. Makri, Stamatios Ntanos et al.

The use of digital technologies in drama performances in education that address the sustainability issues that plague today’s world is highly acknowledged globally by the scientific community since digital technologies offer a variety of ways to provide students with an interactive and engaging learning experience. This article aims to present a literature review on drama/theatre performance in educational environments by applying digital technologies to increase students’ sustainability awareness. More specifically, this article presents a state-of-the-art study on the recent developments concerning digital drama performance and explores how the cultivation of sustainability consciousness by students in all educational contexts can be achieved. Additionally, it provides valuable insights into how combining digital drama performances and sustainability issues could improve crucial 21st-century skills for students at all levels of education. The dataset was collected using the Web of Science, Scopus, and Google Scholar databases. This review is mainly interested in identifying the research gaps since the current literature focuses primarily on digital technologies in drama/theatre education. However, developing the sustainability awareness of students by performing digital drama seems to be under researched. The results of this study directly impact a wide range of educational experts, such as drama teachers, drama faculty members, drama education researchers, scholars, and theatre practitioners, including art critics, culture specialists, stage designers, drama directors, managers, consultants, and policymakers, to influence them to reflect and reconsider the potential benefits of introducing drama/theatre performance lessons in the official curriculum programs to motivate students to become aware of critical sustainable issues.

Rebecca Lewis, Angèle Christin

Recent years have witnessed debates about so-called “cancel culture” and more broadly about online accountability practices. Here we revisit this topic through a study of YouTube “drama,” a hybrid genre where creators provide commentary on the scandals, scams, and feuds between YouTube celebrities. Drawing on cultural studies scholarship, and based on qualitative interviews and content analysis, we argue that YouTube drama embodies a range of cultural and moral negotiations that take place on social media platforms. We conceptualize accountability practices on YouTube as an ongoing “platform drama” in which creators engage in perpetual and highly visible power struggles with celebrities, audiences, legacy media, other creators, and YouTube itself. Within the context of this “platform drama,” structural issues and interpersonal conflicts become blurred, as do accountability practices and monetized spectacles. We analyze “cancelation” on YouTube as a ritualistic practice in which structural tensions are publicly negotiated and performed, even as accountability itself remains largely elusive.

Ji Hoon Park

Jiachong Hu, Jin Xu, Lei Tong et al.

Abstract The ongoing climate changes have put forth various challenges for each industry to achieve their sustainable environmental goals, in an orderly manner. Like the other extensively growing industries, China's Film and Drama industries are responsible for contributing effectively toward a sustainable environment. In order to validate the same, this study has applied the Nonlinear Autoregressive Distributed Lag (NARDL) technique, so as to identify the asymmetric association among the Film and Drama Industry, green innovation, and sustainable environment. The quarterly time-series data of the variables is assessed from January 2000 to December 2019. The outcomes of the study have revealed that the appreciation in the Film and Drama stock prices tends to increase the CO2 emissions. Whereas, the depreciation of the Film and Drama stock prices improves the efforts towards a sustainable environment. On the other hand, the increase in green innovation tends to have an adverse impact on environmental degradation, while the decline in green innovation tends to increase the carbon emissions. In order to handle the grievous problem of environmental degradation, caused by the Film and Drama industry of China, this study suggests that adopting green practices in Film and Drama making, such as green filming, the use of hybrid vehicles, LED lights, and solar generator supplies, and perhaps Computer-Generated Imagery sets will ultimately contribute towards the improvement of the quality of the environment.

Marij Berghs, A. Prick, C. Vissers et al.

Drama therapy is applied to children and adolescents with psychosocial problems. Drama therapy is an experimental form of treatment which methodologically uses drama and theatre processes to achieve psychological growth. Although in clinical practice, drama therapy has been applied successfully, little is known about how and why drama therapy contributes to a decrease in psychosocial problems. A systematic narrative review was performed to obtain more insight into this issue. Eight databases were systematically searched. Ten out of 3742 studies were included, of which there were four random controlled trails, three non-controlled trials, and three pre-and post-test design studies. We identified the results, drama therapeutic means, attitude, and mechanism of change. Positive effects were found on overall psychosocial problems, internalizing and externalizing problems, social functioning, coping and regulation processes, social identity, and cognitive development. An adaptive approach was mentioned as the therapeutic attitude. The means established contribute to a dramatic reality, which triggers the mechanisms of change. These are processes that arise during treatment and which facilitate therapeutic change. We found ten supposed mechanisms of change to be frequently used in all studies. No direct relations were found between the results, drama therapeutic attitude, means, and mechanisms of change.

Nicholas P.L. Allen, Pierre J. Jordaan

Given the strong mimetic and dramatic qualities found in Judith the authors make the suggestion that perhaps, before LXX Judith became a fixed, written text, the basic fabula might well have been part of an oral tradition. The authors accept that an appropriately written dramatic work, whether transmitted through reading or an oral presentation, by means of its performative qualities, has the potential to achieve immediacy. Here, the audience may become captivated with its own familiarity and memory of popular, communally shared narratives. Accordingly, this article attempts to find evidence in the Greek text of LXX Judith for a possible oral precursor. In this context, corroboration is sought for the employment of verbal aspect and mood of the Greek language as well as instances of drama, theatrics, bodily gestures, mnemonic devices or special emphasis on the employment of the senses such as sight, taste and smell. The authors suggest that based on an analysis of the text of Chapter 13, there is much circumstantial evidence for the Judith fabula once being an oral narrative – one that embodies the dramatic and even encourages audience participation. This characteristic strongly suggests the removal of the fourth wall – the notion of an imaginary boundary between any fictional work and its audience. Contribution: This article shows that Judith 13 is indeed the climax of the narrative. However, it goes further. It is a vivid scene with various performative aspects. There are props, dialogue and audience participation. This research is cutting-edge and paves the way for new explorations.

Phon Mammani

The Sadàrasantosa refers to contentment with one’s own wife. It is considered as the doctrine of the stability and development of the family institution to have the noble living or Brahmacariya: a holy life. One should restrain from Akusala-kamma: or unwholesome action viz., evil deed; bad deed and should have the Sanyama or Self – Control, consisting within non-violence to oneself and others in the family and society. In addition, one should develop the doctrine of Drama: taming and training oneself and living with the heedfulness. The Sadàrasantosa can be defined as the family action plan which can build up the warm family, stability and peace.

Mariana Rhormens

O presente artigo apresenta as máscaras Mapiko de Moçambique, discorre sobre as suas origens, estéticas, danças, musicalidades, rítmicas, confecções, tradições e transformações. Traz para o debate o conceito de liminaridade a partir dos pensamentos de Victor Turner e Van Gennep. Discute a liminaridade do mascarado na manifestação Mapiko de Moçambique e discorre sobre o carácter liminóide da máscara e as possibilidades de habitar o “entre lugares” ao mascarar-se.