Hasil untuk "Drama"

Maryam Algburi, Alyaa Naser

This paper delves into gamification, or the use of game elements in non-gaming environments. This paper Reflects on the existing game elements in Izayza by Bassim Altayeb while aiming to show the influence of those elements and how this play carries itself in terms of balancing the resulting emotions and thoughts that the reader/the audience gets. It also revolves around how Izayza incorporates gamification to create an experimental environment for its spectators in coordination with the message of the play. The play's unique integration of the audience into the performance, blurring the lines between actors and viewers, reinforces its gamified nature. While maintaining a serious tone, Izayza aligns with the concept that playing and the dramatic arts are not mutually exclusive, providing a thought-provoking and immersive experience for its participants. Lastly, this intersection suggests a relationship between games and drama.

Imron Rosidi, Masduki Masduki, Vivi Aulia Agus

Technological advances and the development of globalization have led to the growth of global and regional media which ultimately encouraged the emergence of K-Pop culture in Indonesia. The purpose of this study was to determine the influence of watching Korean dramas on the imitation behavior of Pekanbaru students. The theory used is the S-O-R (Stimulus, Organism and Response) theory to explain the data and analysis of the stages of students' imitation behavior towards Korean dramas. The research methodology used is a descriptive qualitative method reinforced by interview data sources with references in the form of relevant articles. The research informants used were students of Pekanbaru Telecommunication Middle School, which were determined through purposive sampling techniques. The results of the study showed that based on the analysis of the SOR theory carried out, there were behaviors that were imitated by Pekanbaru Telecommunication Middle School students from the Korean dramas they watched. The habits imitated by Pekanbaru students were related to fashion, including makeup and skin care, eating habits, and language style or terms in Korean.

M. Krupa, A. Balogh-Pécsi

Introduction Following the pandemic, we can find many new communication situations. Social relationships have changed a lot and are developing differently due to digital development, new lifestyles, and the effects of COVID-19. These components: social media, the transformation of interpersonal relationships, and the use of the platforms provided by the internet can lead to addictive disorders as risk factors. Objectives In this presentation, we review studies investigating the relationship between the new digital techniques, social connection, and communication development of adults with addictive disorders. We attempt to provide a summary of new theories and the areas currently being researched around the topic. Another aim of our research is to present the new drama-based therapy theories and methods in adults with addictive disorders. Methods To learn about recent international results, we conducted a literature search in 3 databases (PubMed, Medline, Web of Science) using the following keywords: drama therapy, addiction, emotion regulation, and adults, over the past 5 years. Empirical journal articles in English were used to prepare the literature review. Exclusion criteria were: the appearance publication before the year 2017 and the adolescent population. Results Changes in social behavior, emotion regulation, and addictive disorder were correlated. The studies examined social communications and loneliness in primarily cross-sectional studies design. The escapism from interpersonal relations and low self-esteem is the highest motivation to start regular videogame playing or using social media without control which becomes an addictive disorder. Conclusions Problematic social media use and changes in social connection threaten adults’ mental health. The diagnosis of emotion dysregulation, low self-esteem, and social disconnection is the detection of risk factors for addictive disorders. The new methods and tools of drama-based therapy are new prevention possibilities for these risk factors. In this way, it is a relevant issue in the field of education science. Disclosure of Interest None Declared

Oksana G. Shostak

An important layer of this research is dedicated to critical studies, which are directed at the strategies of creating a peculiarly Indian literary theory and practice. We have a desire to separate the indigenous tradition from the broad American, in particular, Anglo-American and recognize Indian writing as a component of the multicultural paradigm. Currently, there is a noticeable confrontation between two camps of literary critics: one of them is oriented to European literary theories and believes that they should form the basis of literary interpretations of indigenous writers’ works; another wing is determined by the need to clarify the peculiarities of the literary paradigm of “Indian realism” in the context of a globalized society taking into account new literary models of the perception of ethnic minorities. The need to write the article is caused by the lack of a comprehensive understanding of the problem in Ukrainian literary studies and the growing objective interest in the works of Native American writers, in particular Susan Power. The article proposes a conceptual and methodological determination of the study of a literary text written in the style of Indian realism, which makes it possible to reveal the raised scientific problem at many levels. The article examines how the drama of loss, search and a new acquisition of national identity by the Sioux people was artistically and aesthetically reflected in the text of Susan Power`s novel “The Grass Dancer”. The presentation and consideration of the problem of national and cultural identity provides an opportunity to see the artistic diversity in the understanding of the personal destiny of a person and the people in general, literary ideas about the Sioux people beliefs peculiarities, their aesthetic component and place in the national cultural canon. The main thing is to avoid the trap of a politicized and ideologized theory of multiculturalism, in which modern critics increasingly see an opportunity to interpret the texts of indigenous writers, which is actually the ideology of colonial domination hidden behind political correctness. The main purpose of this article is to outline a coherent theoretical and empirical model of multi-level functioning of Dakota national identity concept in the novel “The Grass Dancer” by Susan Power. Also the aim is to substantiate the leading concept of Sioux national identity literary manifestations interpretation as a unique code, epistemological, socio-cultural and artistic-aesthetic factor that plays a significant role in the modern worldview formation process and myth-making of Dakota society representatives. The following article involves historical-cultural and structural approaches, which correspond to the purpose and tasks of the research; methods of cultural-semantic analysis and phenomenological methods were also used. The persistent deconstruction of the Eurocentric canon of world literature, not only at the level of academic discussions, but also in the system of university teaching of world literature, demands new texts such as “The Grass Dancer”. The reformatting of canons is, of course, a permanent process, but the globalization of the literary canon today acquires a qualitatively new scale and breadth proposed by Susan Power. Multiculturalism with its influence on cultural dynamics and the idea of national and cultural identity can’t be considered the driving cultural stimulus of changes in all its ambiguity. To an even greater extent, transculturalism, proposed by Power, aimed at defining common interests and common values across cultural and national borders for non-native readers. That is her main contribution to the construction of a more globalized literary canon. Susan Power as a Native American writer has repeatedly addressed the specified range of the Indigenous problems, which constantly tested the agreement prevalent in the nonnative science with the most urgent problems of Native literary studies.

Maciej Szatkowski

This article discusses Rossella Ferrari’s book Transnational Chinese Theatres: Inter­cultural Performance Networks in East Asia. This research monograph by a scholar of Chinese theaters focuses on characterizing transnational artist networks in East Asia. Investigating theater collaborations of artists from China, Taiwan, and Hong Kong, Ferrari proposes a transnational and rhizomatic model for analyzing Sino­phone culture. The book makes use of multiple sources not referenced in previous research, unpublished materials, and interviews. Ferrari explicitly dissociates herself from the orientalization of Eastern theaters; as her main method in researching them, she chooses Asia itself, following the Taiwanese cultural sociologist Chen Kuan-hsing (Asia as method) and listening carefully to the voice of Chinese theaters.

Marta Lopera-Mármol, Manel Jiménez-Morales, Mònika Jiménez-Morales

TV series’ depictions of mental disorders have received considerable scholarly attention. However, few studies have considered the role of aesthetic elements in representing mental disorders. Therefore, in this study, we analysed how aesthetic features influence the representation of “psychopathy” in British coming-of-age TV series through the case study of <i>The End of the F***ing World</i>. We chose to analyse psychopathy due to its over-representation in the media and its often-mistaken conflation with the actual mental disorder of antisocial personality disorder (ASPD). We applied an aesthetic methodology in our analysis. We analysed the series in terms of language, appearance, behaviour, music and sound, technical devices, and intertextuality, closely observing three sequences of various episodes that correspond to the character’s symptoms, diagnosis, medication, and treatment. Our findings show that the aesthetic characteristics, characters, and events of the plot can act as expressive means through which the experience of living with a mental disorder can be accurately represented and simultaneously entertain viewers with drama and suspense. The series challenges the reductionist perspective and previous stereotypes of audio–visual pieces related to ASPD, suggesting that future TV series can better represent mental disorders with the correct use of television aesthetics and cinematic devices.

Irina V. Kabanova

Starting with a survey of historical and ideological reasons for the unprecedented rise of Western interest in Russia after 1917 and especially after the Great Depression, the paper focuses on the travel books widely read on both sides of the Atlantic in the 1930s. The decade saw the blooming of travel prose in the English-speaking world, as well as the peak of enthusiasm for Russia during the XXth century. The paper attempts a closer look at the travel books on Soviet Russia, usually dismissed by critics as lacking in the quality of writing, too ideological. First the model of stereotypical book based on short Intourist tour is described (motive structure, prevailing parroting of Soviet propaganda clichés). Next follow the books produced by Western residents in the USSR, or persons who escaped Intourist surveillance and experienced some direct contact with Soviet people. They certainly look at Russia under the Western eye, but are able (to a different degree) to empathize with the drama and tragedy of Stalin’s Russia. From half-hearted account of “fellow-traveller” M. Hindus, the paper proceeds to fundamental “Assignment in Utopia” by E. Lyons, who turned from ardent Communist into highly argumentative critic of Soviet Russia, and to the unique project of writing a comic book about kolkhoz by E.M. Delafield, that resulted in a witty critique of Soviet aims and ways. In finding their way not just around Stalin’s Russia, but in providing the reader with the road to the authors’ inner selves, these books are still relevant today.

Kristen Pilgrim, N. Ventura, Amy Bingen et al.

This article examines the first-year experiences of Lesley University’s first low-residency master’s drama therapy training cohort and their advisor. Course work in this program combines predominantly online learning with several weeks of in-person learning each year, marking a departure from traditional drama therapy education. This article explores ways in which distance learning impacted this cohort in their first year of drama therapy education. Within the cohort’s reflections, specific themes related to technology, cohort experience, course instruction and work‐life balance are examined as well as drama therapy‐specific aspects of their experience. Recommendations are made for future hybrid drama therapy education, including increased use of video and video conferencing, increased training of online instructors, standard use of in-person residencies and further research into technology in drama therapy.

Susanna H. Arveklev, L. Berg, H. Wigert et al.

Hyunji Lee

Chenchen Zeng

ABSTRACT Drama education has grown enormously over the past few years with the interest and support of the People's Republic of China. This article describes the development of drama education in China due to the change of goverment's policy on the reformation of art education. Even though an increasing number of both schools and private companies start to pay attention to drama education, the need for high-quality teacher training has become particularly pressing. However, there is still much work to do and much progress still to make.

Leila Galehdaran, Reza Pourzarrin

In pre-Islamic Iran, narration (Naqqali) was considered as one of the varieties of storytelling, sometime accompanied by music. After Islam's dominance in Iran, narration was one of the few artistic and performative genres that were left out of religious restrictions, and as the only performance form for which ban there was no reason, it managed to combine all playing methods of its time. Picture narration is in the category of traditional plays and is a combination of various arts such as play, poetry-literature, music, singing and painting. This art was performed in two ways: a closed courtyard (coffee house, in banquet narration: mansions); the method by which the screen was hanged or installed on the wall, and open air (squares, passages, fields, etc.) in which scroll screen opened up to the audience slowly, or the second screen of the so-called covering was removed from the preinstalled screen. The images presented in most of these works are imaginary and poetic spatial visualization. This state gives mysterious expression to the natural elements of an image. Although the natural elements in these images are not always symbolic, the depth of these works cannot be realized without familiarizing with literary setting, as well as paying attention to the ancient traditions of the image in Iranian painting. Given the performance’s function, these images have their own effects, not a narrative-related component that has the task of facilitating the comprehension of the text for the audience, but the narration’s subject has been a means for the artist to speak with the linguistic image to the audience. The painter always tries to reveal objects in accordance with his sense of imagination and draws loyal to the original style of dimension processing in Iranian art. In most of these images, the perspective has been created in accordance with the importance and dignity of the individuals; in such a way that the painter, regardless of the temporal and spatial dimension may create events. In the field picture narration, the visual environment and the physical environment are consistent; picture narrator chooses the physical environment according to the environment, hence the two spaces become indivisible. The picture narrator, by masking some of the imprinted forms on the screen, and by placing himself as one of the visual forms against the central narrative forms, changes the proportion of the visual elements of the screen according to his narration. Thus, the spectator's viewing angles, escaping point and horizon line are challenged, and the visual quality of the spectator interacts with the infinite moving objects in the constant screen. Picture narrator combines the role of the profile on the screen with the actual image of the environment in an improvised manner. In this way of narration, the screen is no longer merely the screen of the original painting, but a visionary screen in which perspective, that screen, narrator and spectator are included. This paper examines the action and interaction of the visual and performative elements of field picture narrating, which covers all visual and performative elements, the environment, and in particular, the audience as a perspective, and creates an integrated universe in the making of a world. This space separates the environmental elements from their everyday function and interacts with the visual elements of the screen as well as the performative elements. The creation of this multidimensional space is not merely based on a naturalistic illusion about the actual distances between the represented elements, but it also depends on the dimension, the role (image), the scale of the narration and the performance’s dimension in the environment, and a large number of linkages which place the spectator as the other dimension in it. In this way, this method brings brilliant results and has created a unique way of performing the picture narrating. This article seeks to answer the following questions: what relationship exists between the narrator and the audience with the painting’s screen? how is the screen's relationship with the environment and how can the pre-painted screen be different in each performance? Therefore, using the descriptive-analytical method and with library sources and documentary information gathering techniques, we will study the samples. The result of the research shows that the narrator, with skill in improvisation, identifies the role of the profile on the screen with the actual image in the environment. This is not a mere scroll of the original painting, but his screen is a perspective that includes the screen, the narrator and the spectator.

Jonathan Impett

Course Description During our semester together we will begin to study poetry and drama as dynamic types of literature and performance. Our work will focus on formal and generic elements of poetry (sonnets, elegies, free verse, etc) and drama (tragedy, comedy, the absurd, etc). We will also explore some of the themes, histories, problems, and meanings that make literature such a fascinating art form. But perhaps most importantly, we will engage with poetry and drama as performative, living arts.

Fathullah Wajdi

This study aims to explain the implementation of project learning model (PBL) and authentic assessment that can serve as a model for teachers in teaching drama and literature in general. The is a qualitative research study with the following stages: determine assumptions, determine the design, determine the rules of research, collect data, perform data recording, analyze data, verify the research stage, and describe the research results. This research generates several findings: (1) project based learning (PBL) and authentic assessment fit well with the teaching of drama; (2) the model in question is easy to implement in teaching drama; (3) the learning steps involved are simple yet stimulate the students to actively participate; and (4) this model leads to satisfactory student competence, with an average of 3.55 and 3.63 on a 1-4 scale with excellent qualifications. Competitiveness is measured through the authentic judgment with the rubric of the drama performance parameter. Based on the discussion, it can be concluded that (1) project based learning (PBL) and authentic assessment can be implemented well and easily; and (2) the result of model implementation in teaching drama indicates very satisfactory results. Keywords : PBL, authentic assessment, Indonesian drama

Ib Bondebjerg, E. N. Redvall, Rasmus Helles et al.

R. Lim, R. Tripura, Thomas J Peto et al.

Background: Countries in Southeast Asia are working to eliminate multidrug-resistant falciparum malaria, a major cause of mortality in tropical regions. Malaria is declining but transmission persists in many rural areas and among forest workers and isolated populations. In these remote communities, conventional health services and education are limited. Mobilising and educating these populations require new approaches as many people are illiterate and do not attend village meetings. This article describes a qualitative study to assess the feasibility of a drama project as a community engagement strategy. Methods: A drama project was conducted in twenty villages in Cambodia with three key messages: to use insecticide-treated bednets and repellents, to get early diagnosis and treatment, and to learn about risks of forest-acquired malaria. Qualitative interviews were conducted with the drama team members, village malaria workers, local health staffs and villagers, to explore the feasibility of using drama to engage the community and the associated challenges. Results: 29 people were interviewed, which included 18 semi-structured interviews and one focus group discussion. Analysis of the interviews resulted in development of the following seven themes: i) exposure to malaria and engagement activities, ii) readiness and barriers to participation, iii) understanding and learning about malaria using drama, iv) entertainment value and engagement method preferences, v) challenges to community engagement, vi) future participation and vii) sustainability. The event saw a very positive response, with an encouraging average participation rate of 66%. The project faced several challenges including logistic problems, rescheduling due to raining season, and time- and budget-constraints. Conclusions: Our evaluation demonstrated that the drama project was feasible in promoting awareness and understanding of malaria prevention and control. Audience members perceived drama as entertaining and as the preferred choice of engagement activity. Participatory drama could be considered as part of the community engagement for malaria elimination.

Nilai Sosial, Dan Moralitas Dalam, Naskah Drama et al.

Tujuan penelitian ini untuk mendeskripsikan nilai sosial dan nilai moral naskah drama. Naskah drama yang digunakan berjudul Janji Senja Karya Taofan Nalisaputra. Penelitian ini menggunakan metode deskriptif kualitatif. Teknik pengumpulan data menggunakan teknik dokumentasi. Teknik analisis data dilakukan dengan cara membaca, pengkodingan, pendeskripsian, interprestasi, dan kesimpulan. Hasil penelitian ini merupakan deskripsi kajian nilai sosial dan nilai moral naskah drama Janji Senja karya Taofan Nalisaputra. Hasil dari kajian nilai sosial yang mendominasi naskah drama  Janji Senja karya Taofan Nalisaputra yaitu nilai sosial diri dengan orang lain hal ini terlihat dari kutipan  “Istri harus patuh pada suami, ujaran yang kasar berdampak menyakiti hati orang lain, kebencian yang memutuskan tali darah dalam tubuh, lebih mementingkan orang lain dari pada ibunya sendiri”. Hal ini tampak jelas dituangkan oleh pengarang dalam naskahnya. Sedangkan nilai moral naskah drama Janji Senja karya Taofan Nalisaputra melingkupi beberapa aspek di antaranya,  berbentuk tingkah laku yang sesuai dengan kesusilaan, budi pekerti, dan juga akhlak. Berdasarkan hasil tersebut terlihat jelas jika naskah drama Janji Senja karya Taofan Nalisaputra sangat kental akan nilai sosial dan moral hal ini karena naskah drama yang diangkat berkaitan langsung dengan kehidupan sehari-hari di masyarakat.

Michael F. Fleming

Victoria Brown

Huber, Mario