Hasil untuk "Drama"

K. E. Ashburn, G. Myrdal

Michael Mateas, A. Stern

Setareh Beheshti, Iman Fakhr, saeed Majidi

Form is one of the most important and challenging concepts in music. Music scholars have long offered diverse interpretations and definitions of musical form, but the multiplicity of interpretations can sometimes lead to confusion and impede the attainment of a clear understanding of the structure of musical works. This is partly due to ‘reverse-engineering.’ When a compositional form is created, the composer may or may not be thinking primarily about structure.  The aesthetic message is at the forefront of the composer’s creative conscience followed by thematic phrases, the connective bridges, timbres of sound (orchestration) and most importantly artistic satisfaction.  Theoreticians get involved with a piece of music after it has been written, hence their point of view is an approximation of the composer’s intent.  Over the years, formal structure has become conclusive evidence for formal musical analysis, even though it is in the aftermath of the creative process.  This is the main reason why theories and examples are often hindered by exceptions and compromised by unique forms and structures. Over the years certain various analytical models have been widely accepted in order to highlight or emphasize certain structural elements in musical forms. The most common model is the sonata form which for the most part reflects the structural form of most repertoire from the mid-18th century up to the present.  But this model like others, only illuminates specific aspects of a musical structure, while overlooking compositional details that can stand to be further investigated. Therefore, conducting multifarious analyses on one musical structure can reveal more facets and result in a deeper understanding of the work. However, one must be aware that diversity in analytical perspectives can also lead to multiplicity and ambiguity in understanding musical structure, especially in the Romantic period. For this reason, Agawu, based on the archetypal tripartite structure of beginning, middle, and end, has proposed a theory for analyzing the structure of Romantic music. By simplifying the overall viewpoint of a musical form, Agawu allows for multiple persperctives or analysis to co-exist within one oeuvre.This qualitative research endeavors to apply Agawu's theory to provide a unified formulation of two different analytical approaches to the structure of Mendelssohn's Violin Concerto; a work whose structural innovations have been little studied. In this regard, using a descriptive-analytical method, the structure of the case study was analyzed using both the sonata form and arch form approaches, and it was determined which aspects of the structure were clarified by these approaches. Then, using Agawu's theory based on the two criteria of position and function, the structure of the case study was analyzed, and finally, two other analytical approaches were also formulated under Agawu's tripartite model to achieve a unified understanding of the different analytical models. By using a more general and simplified model, as suggested by Agawu, musicians and theoreticians are not limited to looking at a musical work with just one analysis.  By allowing mulitiple perspectives for interpretation and examination, a deeper understanding of the creative process can be achieved.

Konstantinos Mastrothanasis, Cristina Dumitru, Nadina Darie et al.

<b>Background/Objectives:</b> Public health emergencies disrupt school routines and child development, elevating psychosocial risk. The long-term influence of school-based participatory arts, particularly drama pedagogy, has not been sufficiently explored. This study examined teachers’ retrospective perceptions of the four-year effects of a large-scale, remotely delivered drama-based intervention on children’s psychosocial well-being and school community resilience. <b>Methods:</b> We conducted a retrospective interpretative phenomenological study with 23 primary-school teachers who implemented a seven-week, drama-based program with children aged 10–12 during a public health emergency. Semi-structured interviews were conducted four years post-implementation and analyzed following the principles of Interpretative Phenomenological Analysis, using the Community Resilience Framework as a sensitizing theoretical lens. <b>Results:</b> According to teachers’ retrospective accounts, participatory arts were perceived to function as a complementary public-health-oriented practice, helping maintain children’s connection to school, and were associated with strengthening trust, creativity, and solidarity, as well as supporting communication, emotional expression, adaptability, and collaborative skills. Teachers reported that stable rituals and drama-based practices appeared to foster a sense of safety amid disruption; over time, some of these practices were reported as becoming part of everyday school routines, which teachers associated with continuity and collective resilience. <b>Conclusions:</b> Integrating drama-based interventions into school health and psychosocial crisis-readiness may strengthen pediatric public health strategies and may help education systems to respond to future emergencies. These findings reflect teachers’ perceptions of sustained influence and suggest the perceived value of arts-based methods in developmental/behavioral support and school community resilience. By addressing emotional regulation, peer connection, and psychosocial adaptation within school settings, the intervention reflects the preventive and promotive dimensions of pediatric public health, emphasizing the school’s role as an environment that supports children’s overall mental and developmental health.

Pablo Enrique Abraham Zunino

Referência do artigo comentado: PAIVA, Rita. Impulso criador e drama vital em Bergson. Trans/Form/Ação: Revista de Filosofia da Unesp, v. 46, n. 2, p. 253 – 274, 2023.

Ellen Handy

The Harrison Horblit Collection at the Harvard University’s Houghton Library contains a remarkable daguerreotype plate by the Boston firm Southworth & Hawes. It reproduces an engraving after Raphael’s Transfiguration. Whereas reproductive printmaking normally seeks to produce multiples of a unique original, daguerreotype reproductions open a space of ambiguity between the categories of original and reproduction since daguerreotypes are unique objects. Much is lost in this translation, but what is gained? If reproduction of paintings normally renders the singular multiple, what happens when a painting is reproduced as a unique image? Why was this daguerreotype created? Southworth & Hawes specialized in portraits of celebrities and considered themselves artists. Why then did they make a daguerreotype of an engraving of a painting? And why this painting?Their image of an image of an image is at once simply duplicative and a meditation on photography itself – an expanded conception of photography that figures it as spiritual and conceptual practice, as is suggested in other conflations of image reproduction and transfiguration within Southworth & Hawes’ oeuvre as well. The logic of the Southworth & Hawes’ Transfiguration becomes less a conundrum when considered in relation to two of their other images, one of the branded hand of abolitionist Jonathan Walker, the other a self-portrait representing Southworth’s torso as a classical sculpture. Translation, transfiguration, body, soul and image are closely imbricated in all three of these daguerreotypes, each produced during the height of New England Transcendentalism. While Raphael’s Transfiguration epitomizes the intersection of the human and a divine being as Scriptural drama, The Branded Hand and Southworth as a Classical Bust allude to the spiritual realm through representation of the soul’s transcendence of the suffering body rather than direct reference to scripture. The Branded Hand detaches subject from the context of the body as a whole; Walker’s wound appears in the image as the silvery trace of the price paid for his abolitionist conviction. The portrait of Southworth separates an individual man’s identity from the more allegorical presence, while presenting suggestions of sorrow as emblems of spiritual elevation. But beyond this, the transmedial daguerreotype of the print of the Raphael announces itself as visual metonymy; the transfiguration of Christ in the painting also conveys the transfigurative power of the photographic medium itself.

Pablo Salas Tonello

Se analiza cómo están orientados los premios de un festival del Estado -la Fiesta Provincial del Teatro de Tucumán (Argentina) entre 2002 y 2017- en relación a qué grupos etarios y qué corrientes estéticas son reconocidas. El artículo muestra que los premios se dirigen fundamentalmente a elencos con directores jóvenes que cultivan una estética posdramática, mientras excluyen la tradición realista, el humor popular y el teatro de la crueldad. Por último, se evalúan los motivos del Estado para realizar dichas exclusiones, así como los juegos de poder a nivel local con el reconocimiento de figuras jóvenes y el desdén por las figuras jerárquicas del campo teatral provincial. 

Zafiris Nikitas

Τhe present article examines the connection between the Greek stage director Karolos Koun and his staging of modern American drama. Specifically, it investigates the systematic incorporation of plays by writers such as Tennessee Williams and Arthur Miller into the repertoire of Koun’s Art Theater from the Greek Civil War Era to the Cold War period. The aesthetic and ideological choices of the director are placed within the historical and sociopolitical context of Greece, while the connotations of American cultural politics are also taken into consideration. As the article illustrates, Koun used American Realism in order to stage a reflection of global modernity in his locality during the tumultuous years of post-war Greece.

Sonny E. Zaluchu

In many religions, worshipping God whilst moving the body is part of worship. This article aims to explain and defend the position that worshipping God by moving the body in liturgy is biblical and has a theological foundation. The discussion is divided into three. Firstly, the writer traces the origins of objections to bodily movements in liturgy and analyses them. Secondly, it is explained that body movement is a language to God. A biblical argument about body movements, which should not be trapped in appearance and drama, is the third part. The article concludes that worship by gestures is biblically substantiated. The research contribution suggests that the church should be accommodating in its orthodoxy to accept this as truth. The church should deem it important to teach the congregation the concept of true worship and not worship that is trapped in appearances. The key finding is that the meaning of worship lies not in the direction but in the worshippers’ hearts. Each church should have a unique way in their respective cultures. This article performs a theological reconstruction of worship theology and analyses it briefly through a literature review of several literature works such as books, articles and research findings.

Francisco Lima Dal Col

The article presents a brief historiography of choral dances in the light of Rudolf Laban's ideological premises in comparison with the National Socialism ideology in Germany in the 1920s and 1930s. Laban choral dances were a form of collective dance that the choreographer proposed as a means of recovering a sense of community, and which occupied an essential place in his project of propagation of dance. Considering the background of choral dances and, more specifically, the episode of the choreography that Laban created for the 1936 Olympic games activities, the article deals with the approximations and distances between Laban's cultural projects and National Socialism. The article shows how the collective power contained in choral dances, which were part of the cultural policy instituted in the early years of the Nazi regime in Germany, ended up being a key point for both Laban's rise and fall within the German government. Finally, the text seeks to reflect on the responsibilities and consequences of concessions in the relations between art, politics and ethics that arose in this specific relationship between Laban and Nazism.   Keywords Rudolf Laban. Choral Dance. Dance History. Nazism.

Hiroshi Hasebe

The two figures who stood at the vanguard of the Japanese theatre world and maintained an international status during the 31 years of the Heisei era (1989-2018) are Ninagawa Yukio and Noda Hideki. Ninagawa Yukio was the most internationally successful of all the theatre directors who emerged during the post-war years. Ninagawa‘s productions were acclaimed not on account of their “Japonistic” and Orientalist tendencies, but precisely because of their lack of any clear national identity. The blend of heterogeneous cultures transcending differences between East and West introduced a universal dimension into the Shakespearean narrative. This was a deliberate strategy on Ninagawa’s part aimed at creating a global production. Noda Hideki showed much interest in performing overseas from early on in his career. He determined to surmount cultural barriers by not incorporating the Japanese language into the drama at any stage from the writing of the script to the stage presentation, with everything being conducted through the medium of English language. The European understanding of contemporary Japanese culture is becoming dominated by the concept of “Cool Japan”. This has brought the essence of Japanese culture as it was conceived prior to the introduction into Europe of animation and Japanese cuisine such as sushi back to the surface. By basing his work on the Nō theatre, with its origins in medieval times, Noda was striving to convey how the traditional Japanese aesthetic as typified by the concepts of yūgen, wabi and sabi has been handed down to present-day Japan.

Richard Hewett

This article investigates the impact of production process upon character agency in early Doctor Who, focusing on the period between 1963 and 1966, during which time William Hartnell starred as the Doctor. As originally conceived by Sydney Newman, Verity Lambert and David Whitaker, it is debatable to what extent the Doctor could be regarded as the ‘hero’ of the narrative, as this role was often better fulfilled by his human companions, initially represented by teachers Ian Chesterton (William Russell) and Barbara Wright (Jacqueline Hill), who provided a ready point of identification for viewers. This situation changed significantly during Hartnell’s tenure, but the shifts in agency that occurred were so radical as to seem almost ad hoc, reflecting industry pressures that typified television drama of the time. The extent to which these changes were influenced by the programme's rapid turnaround are examined here via a combination of textual analysis and historical production research, before being briefly contrasted with the modern version of Doctor Who, starring Jodie Whittaker, whose production context allows for more considered development of long-term character arcs.

E. M. Dillon

In New World Drama , Elizabeth Maddock Dillon turns to the riotous scene of theatre in the eighteenth-century Atlantic world to explore the creation of new publics. Moving from England to the Caribbean to the early United States, she traces the theatrical emergence of a collective body in the colonized New World—one that included indigenous peoples, diasporic Africans, and diasporic Europeans. In the raucous space of the theatre, the contradictions of colonialism loomed large. Foremost among these was the central paradox of modernity: the coexistence of a massive slave economy and a nascent politics of freedom.   Audiences in London eagerly watched the royal slave, Oroonoko, tortured on stage, while audiences in Charleston and Kingston were forbidden from watching the same scene. Audiences in Kingston and New York City exuberantly participated in the slaying of Richard III on stage, enacting the rise of the "people," and Native American leaders were enjoined to watch actors in blackface "jump Jim Crow." Dillon argues that the theater served as a "performative commons," staging debates over representation in a political world based on popular sovereignty. Her book is a capacious account of performance, aesthetics, and modernity in the eighteenth-century Atlantic world.

Nerea Ayerbe (Universidad de Deusto – Bilbao/Vizcaya, Spain)

The category of presence plays a major role in the most accepted definitions of performance art. This centrality of the ephemeral presence of the artist’s body has prevented an appreciation of performance documentation in all its importance. Taking Peggy Phelan’s position as representative of the prevailing paradigm, this article presents its main objections and intends to broaden the concept of presence in its application to performance to accommodate the documentation processes.

B. Lee, S. Cawthon, Kathryn M. Dawson

Rezarta Bilali, J. Vollhardt

D. Burton

Shahira S. Fahmy, Britain Eakin

S. Mcmillin

List of Illustrations vii Preface ix CHAPTER ONE: Integration and Difference 1 CHAPTER TWO: The Book and the Numbers 31 CHAPTER THREE:Character and the Voice of the Musical 54 CHAPTER FOUR: The Ensemble Effect 78 CHAPTER FIVE: The Drama of Numbers 102 CHAPTER SIX: The Orchestra 126 CHAPTER SEVEN: Narration and Technology: Systems of Omniscience 149 CHAPTER EIGHT: What Kind of Drama Is This? 179 Bibliography 213 Index 221

Carl A. Shaw