Hasil untuk "Drama"

S. Hilgartner, C. Bosk

Jonathan Culpeper

Wang Ruiyan

Alienation and loneliness in modern society have received widespread attention, but existing research has mostly focused on a single psychological or sociological level, and there is still a lack of systematic exploration of the interplay between dramatic works and social critique. This essay takes the play The Insanity as the research object, and analyzes the symbolism of multiple personalities, the narrative function of closed space, and the directing technique in the play from the theoretical basis of alienation and loneliness. The analysis shows that the drama deconstructs the boundary between “normal” and “madness” through absurdity, criticizes the hypocritical interpersonal relationship in modern society, satirizes group loneliness through black humor, and suggests the possibility of self-redemption for individuals after facing the predicament of alienation with the ending of personality fusion. The ending with the fusion of personalities suggests the possibility of self-redemption after facing the predicament of alienation. Based on this, this essay proposes that future artistic creations should explore psychological complexity in greater depth, link artistic methods to social reality, and promote public reflection on self-identity and social belonging in a diversified form.

Yeliz Biber Vangölü, Florentina Gümüş

Throughout centuries, women have been excluded from theatre, an otherwise significant part of Western culture. Even after they have been allowed to attend theatrical performances, perform on stage, and publish their work, their contributions have been obscured or downgraded. In modern times, the inequality between male and female playwrights and theatre practitioners saw only marginal improvement. This study investigates the presence of women as playwrights and directors in the 40 plays uploaded to the National Theatre at Home platform in the year starting with December 2020. Studies conducted since the 1980s have systematically pointed out the lack of equal opportunities for men and women in the theatre industry. Our findings comply with relevant studies and attest that gender parity is far from being attained despite efforts to include more women in theatre in various roles.

Даулеткалиева Раушан Нурымовна

Бұл мақалада музей коммуникацияларын жылжыту мен жарнамалаудағы PR құралдарының ролі жан жақты қарастырып, анализ жасалған. Шет елдік пиарологтардың көзқарастары қарастырылып, PR технологияларының музей коммуникацияларын дамытуда 3 негізгі бағытына талдау жасалған. Осы бағыттардың негізі ретінде іс-шаралар маркетингін қарастырып, толығымен мәні ашылып жазылған. Осыған байланысты артықшылықтары мен кемшіліктерін көрсететін талдау кестелерін құрастырған. Сонымен қатар музейдің интернеттегі ақпараттық активтері туралы, оларды қалай қолдану керектігі туралы ақпарат жазылған. Соңында музей коммуникацияларын дамытуда бұқаралық ақпарат құралдарның қандай маңыздылағы бар екендігі көрсетілген.

Li Ding

This article investigates the challenges teachers experience while learning to teach English through drama in an action research project. Through closely examining the fundamental causes, it discerns the knowledge constituents crucial for successful learning and implementation of drama for English teaching. Difficulties are identified from three aspects: text selection and interpretation, translation into drama activities, and classroom implementation. Referring to Shulman’s teacher knowledge construct (1986, 1987), the author argues that drama pedagogy for English teaching demands a changed perspective on language regarding its form and meaning and also on drama as both subject and pedagogy. Only then can teachers effectively link language and drama and create a meaningful learning experience.

Malgorzata Drwal

In this article, I examine the Garment Workers’ Union’s theatre as a manifestation of transnational working-class culture in the 1940s. Analysing Pageant of Unity (1940), a play in which Afrikaans and English alternate to express the equality of Afrikaans- and English-speaking workers in the face of exploitation, I offer an attempt to escape the confines of a national literature as linked to a single language. I demonstrate how the political pageant—a genre typical of socialist propaganda and international trade unionism—was adapted to a South African context. This drama is, therefore, viewed as a product of cultural mobility between Europe, the United States, and South Africa. Assuming the ‘follow the actor’ approach of Bruno Latour’s Actor-Network Theory, I identify a network of interconnections between the nodes formed by human (drama practitioners and theoreticians, socialist organisers) and nonhuman actors (texts representing socialist drama conventions, in particular agitprop techniques). Tracing the inspirations and adaptations of conventions, I argue that Pageant of Unity most evidently realises the prescriptions outlined by the Russian drama theoretician Vsevolod Meyerhold whose approach influenced Guy Routh, one of the pageant’s creators. Thus, I focus on how this propaganda production utilises certain features of the Soviet avant-garde theatre, which testifies to the transnational character of South African working-class culture.

Haris Fajar Nugroho, Dharsono Dharsono

Panca Wasta is a teaching at the level of family life  which contains advice on values that elevate human position in personality, nobility, welfare and knowledge that must be possessed by a man (Javanese) in particular. The focus of the creation of the work is in the form of a kris blade which is inspired by the five elements of the Panca Wasta teachings which contain; wisma, turangga, kukila, curiga and wanita, using recycled metal. The purpose of the creation of this work is to create a dhapur kris blade using recycled metal with a metaphorical tinatah motif from the five elements of the panca wasta teachings. The creation of works uses an artistic creation approach, namely; experiment, contemplation and embodiment of works. The resulting work is a kris blade complete with warangka, hulu/jejeran/ukiran, mendhak, and pendok of Surakarta style. When the teachings of Panca Wasta are used as the concept of creating a kris, it shows that the work of a kris is quite interesting, has aesthetic beauty and full of philosophical values and meanings.

Anette Sofie Bernsen, Amund Langøy, Margareth Eilifsen

Artikkelen bygger på konteksttilpasset intervensjonsdesign i en barnehage som jobber aktivt med barnehagens lekemiljø. Hele forskningsprosjektet er gjennomført av tre faglærere innen fagene drama, pedagogikk og fysisk fostring i barnehagelærerutdanningen. Avdelinger i barnehagen ble transformert og iscenesatt av ulike materialer og visuelle elementer. Formålet var å designe alternative løsninger som konsept til tradisjonelle etablerte lekerom. Studien drøfter personalets aktive deltagelse i intervensjonene, og hva som skaper motivasjon og forståelse av rommets betydning for pedagogisk praksis. Studien kan bidra til eksisterende kunnskap ved å se på nye perspektiver og tilnærminger til barnehagelærerrollen. Datamaterialet består av observasjoner som ble gjort under to personalsamlinger, to fokusgruppeintervjuer og forskningsdagbok fra prosjektet med et forløp på ett år. Det teoretiske grunnlaget for studien er Deci og Ryan (2000) sin selvbestemmelsesteori, og det empiriske materialet er analysert med utgangspunkt i David Kolb (2015) sine refleksjoner rundt erfaring som ressurs for læring og utvikling. Funnene viser at egne kroppslige erfaringer og aktiv deltagelse i kollektive prosesser over tid skaper motivasjon for endring i den pedagogiske praksisen hos personalet. Økt kompetanse med eksperimentering med lekemiljøer fører til indre regulert motivasjon. Personalet motiveres av barnas entusiasme, som igjen fører til større grad av medvirkning for barna i eget lekemiljø. Det skapes en delingskultur for kreativitet i tilretteleggingen

Mariia Moklytsia

The article substantiates the necessity of psychoanalytical and existential methodology in interpreting Lesia Ukrainka’s drama Kaminnyi hospodar (1912; The Stone Host), including the works of José Ortega y Gasset and Miguel de Unamuno on Don Quixote, Albert Camus on absurd characters (The Myth of Sisyphus. Essay on the Absurd), and Jacques Lacan’s The Mirror Stage. Biographical data testify to the critical attitude of the writer to world treatments of the legend. Her challenge to tradition was bold and conscious. It is regarded that the main point of Lesia Ukrainka’s polemics with tradition concerns Don Juan apologetics, introduced by romantics and developed by modernists. Exploring Don Juan’s psychological makeup provides the opportunity to show that all participants of the legend have become victims of Don Juan apologetics (that distinguish the tragic fi nale of the story). The Don Juan myth has played an integral role in the image of the Person (social mask) being accepted by characters as a trustful image of the Self. Interpretation of the Mirror Image in The Stone Host and its crucial role in the final scene allows for justifying that the mirror serves the narcissistic characters’ admiration of themselves and shows them not only an attractive appearance but an ideal version of the Self, created by myth.

Fabio Mangolini

Starting point of the article’s thesis is the author's personal experience of theatrical practice and contact with other theatrical cultures, especially in Asia and, even more, in Japan. Aim of the text is to analyse the reasons for the mutual fascination between typically Western theatrical forms and practices, such as what is generically defined as Commedia dell'Arte and others that, equally generically, are defined as Oriental Theatres. This attraction has origins (even if subconscious) that are not only theatrical but rather cultural, or even better, related to cultural visions. The image of the Commedia dell’Arte - a tradition re-invented in the course of the 20th century and made mythical in the collective imagination by the theatrical avant-gardes in the perspective of a profound renewal of European theatre - corresponds to a vision of a generic Theatre of the East, repository of a sort of imaginary purity that has remained uncontaminated and unchanged over the centuries - the so-called living traditions. These theatrical visions are, in turn, the result of the construction of induced cultural identities, of distorted visions of the Other. They are thus part of a cultural imagology that rests on the sedimentation of ideological constructs ranging from mythopoiesis to exoticism, and even corresponds to an induced vision of identity of Japan and Italy. Finally, by returning the discussion to a purely artistic sphere, the importance of the dynamics leading to the hybridisation of languages is assessed, a fertile ground for the connection and construction of cultural bridges and a heuristic practice, moreover, typical of the Commedia dell'Arte, as it made hybridisation its essence, modulating and regenerating itself in European theatres, and not only, from the 16th century onwards.

Taras Pastukh

In her drama Cassandra (1903–1907) Lesia Ukrainka pays considerable attention to language and demonstrates its two defi ning forms and functional paradigms. One of them is language that appeals to the essential components of being. It is language that refl ects human existence in all its acuity and fullness of appearance. This language is complex and diffi cult to understand, but is the only real language of the age of modernism. Another language is superfi cial, appealing not to the depths of life and universal categories, but to temporary human needs and aspirations. Its task is to identify the ways and means of achieving a desired goal. Such language is manipulative, because its speakers tend to hide their personal interests under claims of the common good. Also, in the drama, Lesia Ukrainka innovatively raises a number of questions related to the internal laws of world development, the processes of human cognition, the functioning of language, and the understanding and interpretation of the word. The formulation and presentation of these issues demonstrate the clear modern attitude that the writer professed and embodied in her drama.

Tatsiana Suprankova

The pinnacle of the Faust literary processing became the great Goethe’s embodiment. He created three versions of the plot. They are “Urfaust”, a well-known literature “Faust” and opera libretto of the same name. It was co-authored by the Belarusian composer A. H. Radziwill and became popular in the 19th century. Its staging in the National Academic Grand Opera and Ballet Theatre of the Republic of Belarus in 1999 was dedicated to the 250 anniversary of Goethe’s birthday. The version by A. H. Radziwill was the first according the time of writing musical work, the result of long years of the composer’s and the writer’s talents’ joined effort, the product of mutual contacts of the cultures. Therefore, the libretto of “Faust” represents the interest as a work of the romanticism drama, as the great philosophic and esthetic embodiment of Goethe’s genius. The direction of transformation of certain characters by the author, of changing the accents on them in view of the peculiarity of the libretto genre represents considerable interest. The work is also of great interest, because it sums up the interaction of two cultures (the German and the Belarusian ones) and two epochs (the Enlightenment and the romanticism).The article analyzes influence of the opera-libretto upon the development of J. W. Goethe’s views about Faust-concept in the process of writing his work. Attention is given especially to aspects such as philosophical content of artistic images and the adaptation of the metrics.

Antony Fredriksson

In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the task in which the documentary image can guide us. In order to arrive at this conclusion I will start by examining how the documentary image adheres to knowledge, without falling back on a generic epistemological or representational framework. I start by discussing the final scene in Werner Herzog's film Echoes from a Somber Empire (Echos aus einem düsteren Reich, Werner Herzog, 1990) as an example of the aspect of documentary film, that aids us in refraining from projecting our preconceptions on the uncanny. I continue by discussing Nietzsche's understanding of knowledge as a process of domestication and contrasting it with Merleau-Ponty's and Bernhard Waldenfels's phenomenological account of perception, in which the role of attention becomes paramount. This is an attempt to show how the question – what makes the documentary image unique – is entangled in epistemological questions concerning the relationship between vision, image, self and object. A closer investigation of the ambiguities inherent in the concept of “documentary” reveals something important concerning how the unknown becomes known.

Lucy Bolton

Reading the moral philosophy of Iris Murdoch alongside film enables us to see Murdoch's notions of practical moral good in action. For Murdoch, moral philosophy can be seen as “a more systematic and reflective extension of what ordinary moral agents are continually doing”. Murdoch can help us further by her consideration of the value of a moral fable: does a morally important fable always imply universal rules? And how do we decide whether a fable is morally important? By bringing Murdoch and Margaret (Kenneth Lonergan, 2011) together in an exploration of the moral decision making of the film's protagonist and our assessment of her choices, we can learn more about the idea of film as a morally important fable rather than a fable that is purely decorative.

Karoline Sprenger

Die Plebejer proben den Aufstand. Ein deutsches Trauerspiel (1966) by Günter Grass aroused great scandal, because the play denounces the tactics of Bertolt Brecht with regard to the workers’ uprising in East Germany on June 17, 1953. However, Grass always rela­tivized this and claimed to have shown the problematic relationship between artist and politics in general. The present contribution argues that Grass actually attacked frontally none other than Brecht and that he exploited the debate in the leftist student magazine konkret, the West-German mouthpiece of the 1968 revolt.

Equipo Secuencias

Secuencias

Gilberto

Sem Resumo

Michael Mateas, A. Stern

The process of building Façade, a first-person, real-time, one-act interactive drama, has involved three major research efforts: designing ways to deconstruct a dramatic narrative into a hierarchy of story and behavior pieces; engineering an AI system that responds to and integrates the player's moment-by-moment interactions to reconstruct a real-time dramatic performance from those pieces; and understanding how to write an engaging, compelling story within this new organizational framework. This paper provides an overview of the process of bringing our interactive drama to life as a coherent, engaging, high agency experience, including the design and programming of thousands of joint dialog behaviors in the reactive planning language ABL, and their higher level organization into a collection of story beats sequenced by a drama manager. The process of iteratively developing the architecture, its languages, authorial idioms, and varieties of story content structures are described. These content structures are designed to intermix to offer players a high degree of responsiveness and narrative agency. We conclude with design and implementation lessons learned and future directions for creating more generative architectures.