Modern Drama Research Papers - Academia.edu (original) (raw)

A Complicated Relationship is a story of young couple who have been together for 2 years, one night they have planning a dinner but at that night they have different feelings about their relationship. On that dinner, they have different intention about their future whether they should break up or get married sooner. Jess a woman who wants to end her relationship with Adam, but as soon as Adam explains his efforts to Jess. She can’t hold her feeling much longer then she asks permission to go to the bathroom, while Adam preparing a propose ring to be hide it in Jess’s napkin he get interrupted by a Waiter who always blabbering about his married and divorce stories. After Jess back to the table, she finally have a power to speak up her intention to break up with Adam. But things get inverted when Adam express his truly love feelings to Jess and heard Jess feeling to break up, but Jess got heart-melted by Adam true feelings about her instead.

- by Suhada F. Mahdi
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- Storytelling, Modern Drama, Prose Analysis
- by Ewa Partyga
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- Modern Drama, biografia w teatrze, Jolanta Janiczak, Małgorzata Sikorska-Miszczuk
- by Lauren Wolanski
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- Musical Theatre, Dramaturgy, Modern Drama, Second World War
- by Valerii Viugin
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- Soviet History, Drama, Conspiracy Theories, Modern Drama

In this essay, Mohammed Albakry discusses the notion of accommodating cultural differences in translation and the need to respect these differences without compromising or emphasizing them. First, Albakry reflects on translation as an act of interpretation in light of Terence’s famous saying
“nothing human can be foreign to me.” Second, he comments on the place of drama in translation and translation studies in order to contextualize his project — translating a number of critically acclaimed contemporary Egyptian plays. He then reviews and critiques the binary model of foreignization/ domestication, drawing on some concrete examples of the cultural challenges of translating Arabic drama for the American stage. Albakry concludes by conceptualizing an alternative translational space of dialogical encounters between the human/familiar and the foreign in translation, and by considering
the relevance of the Terentian maxim to the negotiation of maintaining sameness while preserving difference.

Za vrijeme Domovinskog rata kazališta u najugroženijim gradovima (Osijek, Zadar, Dubrovnik) održavala su kazališni program unatoč ozbiljnoj opasnosti jer je, na primjer, na krov zgrade HNK u Osijeku pala ciljana granata 1991. Tada se shvatila važnost kazališta koje se doživljavalo kao otpor neprijatelju i borba za normalan život, ali i mjesto koje je ljudima davalo snagu. Kazalište je u ratu bilo važno, gotovo ritualno kao u davna antička vremena. Repertoar je bio sastavljen od komedija, opereta opera, koncerata, klasika a pisale su se i ratne drame na temelju proživljenih iskustava pisca. Iako napisane uglavnom iz pozicije žrtve bile su bez mržnje i bez veličanja hrvatske državnosti ili nacije (što se ponekad znalo čuti kao optužba) ali uvijek s katarzom i pročišćenjem emocija publike na kraju. Čak i kad je glavni lik poginuo ostala je živjeti neka pozitivna emocija u drami (i u publici), i time su publiku ojačavale i uzdizale. Pisale su se i brojne ratne komedije koje su smijehom umanjivale strah i potvrđivale smisao svijeta. Nakon rata u kazalištima glavne struje zavladala je teza da ratne drame nema i igrala su se samo djela koja su se uklapala u vladajuće europske
trendove (nasilje u obitelji, imanentno zlo u svima nama ili jasna hrvatska krivica). Autoričino istraživanje je pokazalo da je od 1990-2014. objavljeno ili igrano u kazalištu i/ili na radiju 130 hrvatskih drama vezanih uz Domovinski rat temom ili nekim likom (ratnik, prognanik itd ... ) od čega je četvrtina napisana za vrijeme rata (do 1995.). Istraživanje je pokazalo da u dramama napisanim nakon rata dominira drugačiji osjećaj, osjećaj beznađa i prikaz poratne stvarnosti kao mjesta u kojem nema nade za dobre ljude, pa tako nema poratnih komedija nego samo groteski. Istraživanje je rezultiralo s objavom tri antologija drama i promjenom stava prema ratnoj drami kao i ulaskom drugačije slike rata (hrvatska žrtva) u glavnu struju.

- by Sanja Nikčević
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- Modern Drama, Theatre, Homeland War, Croatian Drama
- by Monika Wasik-Linder
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- Migrant Literature, Elfriede Jelinek, Modern Drama, Austrian Literature

New Writing 16.3 (2019): 336-42. Print.

- by Tom Ue, FRHistS
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- Gender Studies, Theatre Studies, Victorian Studies, Nineteenth Century Studies

El arte de la vejez es arreglárselas para acabar como los grandes ríos, serena, sabiamente, en un estuario que se dilata y donde las aguas dulces empiezan a sentir la sal y las saladas, un poco de dulzura. Y, cuando te das cuenta, ya no... more

- by Ana Fernández Valbuena
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- Modern Drama

In modern drama and theater the intense search of new communication forms capable of maximum convergence of theater and reality occurs. The ultimate goal of these searches is psychotherapy of the global anthropological crisis that modern man feels in the era of consumption. The example of E. Grishkovets's narrative (mono)drama covers such popular communication tactics as shifting to middle-addressee, searching the typical hero of actual time, blurring of the subjective boundaries between author, hero and addressee, universalizing the meanings in the world of the play, appealing to different media formats, etc.

- by Ирина Банах
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- Modern Drama, Strategy, Evgenii Grishkovets, Reader
- by Glenn D'Cruz
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- Theatre Studies, Drama, Literary Theory, Modern Drama

Stenport, Anna Westerstahl, Eszter Szalczer, and Jonathan Schroder. (2018). “Introduction: Visual Culture, August Strindberg, and The Double Image of Modernity.” In August Strindberg and Visual Culture: The Emergence of Optical Modernity in Theater, Text, and Image. Ed. Anna Westerstahl Stenport, Eszter Szalczer, and Jonathan Schroeder. London: Bloomsbury Academic. 1-18.

- by Anna Westerstahl Stenport
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- Photography, Modern Art, Modern Drama, Modernism
- by Milton Loayza
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- Modern Drama, Theatre and Philosophy, Postdramatic Theater, Dramatic Theory
- by Yuri Brunello
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- Comparative Literature, Theatre Studies, Translation Studies, Italian Studies

Every nation has its own symbols of which it boasts among
the other nations. The Arab nation is no exception in this regard.
Its Islamic legacy, for example, is full of these symbols. One of
them is Um-ul-Baneen, Fatima Bint Khasam Al-Asadi, the wife of
prophet Muhammad’s cousin, Al-Bin Abi Talib. She is well known
of her brave stand when she sacrificed her four sons, Al-Abbas,
Ja`far, Bakr and Othman (peace be upon them), who fell martyrs
in defending their brothers, Imam Al-Husein (Peace be upon him)
cause in Al-Taf Battle.
Ridha Al-Khafaji , a well known playwright in Imam Al-Husein
Theatre, picked up Um Al-Baneen`s stand and wrote a dramatic play
reflecting it. In this play ,which he titled as Precursors of Certitude
in Um Al-Baneen Chronicle, Al-Khafaji has proven himself very
successful in focusing upon the gist of Um Ul Baneen`s message
of faith and faithfulness to Imam Al-Husein (Peace be upon him)
cause. Besides, the language in which he wrote the text of the
play is very expressive in conveying the intended messages of
Al-Husseini discourse. In so doing, he attempted to address the
reader’s and audience’s reasoning, passion and individuality to
grasp those messages.

- by Haider Al-Moosawi
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- Modern Drama

This collection presents the diversity and interconnectedness of Middle Eastern dramaturgies and their complex experiential and interpretative dimensions. It contains eight essays by scholars and practitioners exploring the migration of... more

- by Marjan Moosavi
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- Politics, Modern Drama, Experiential Learning

This essay considers Tim Crouch's two most recent plays, ENGLAND and The Author, in relation to the performance spaces for which they were commissioned – respectively, a white-walled art gallery (the Fruitmarket, Edinburgh) and a black box studio theatre (the Royal Court's Theatre Upstairs, London). It examines the ways in which Crouch explores and subverts the ideological particularities of the gallery and theatre space, particularly with respect to conventions around spectatorial response. Building on a distinction drawn by art critic Brian O'Doherty, the essay proposes that the disembodied ‘Eye’ conventionally assumed by both gallery and end-on theatre auditorium is displaced by these plays in favour of an awkwardly materialized Spectator, both emancipated from the collective and implicated in the proceedings.

- by Stephen J Bottoms
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- Performance Studies, Modern Drama

Krajem 20. i početkom 21. veka u Srbiji dolazi do intenzivnog razvoja savremene dramske književnosti. Taj zamah je istorijski i poetički započet dramama Biljane Srbljanović u drugoj polovini 1990ih, a zatim Milene Marković od 2000. godine, da bi se u prvoj polovini 2000ih godina nastavio kroz masovniju dramsku praksu sa nazivom Nova drama, koja okuplja pisce najnovije generacije.

- by Ana Vujanović
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- Cultural Policy, Performance Studies, Drama, Modern Drama
- by Orçun Ünal
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- French Literature, Avant-Garde Theater, Modern Drama, Drama and Theater

W. B. Yeats’s ‘King Oedipus’ is one of the most influential receptions of Greek tragedy in modern times. For this reason a large amount of scholarship surrounds it, but the literature has not explained what Yeats’s motivations were for appropriating the ‘Oedipus Rex’. This means that there is no current understanding for why Yeats’s ‘King Oedipus’ ever came about as an act of classical reception, and it has led to misinterpretations of events in the text’s genesis. The purpose of this study is to account for Yeats’s motivations and to emend the scholarship’s misreadings. This is achieved by explicating the link between the ‘Oedipus Rex’ and Yeats’s thoughts on Irish nationalism with its relation to censorship in Britain, which forms the basis of his motivations for appropriating the play. Once these factors are established, the events encompassing the writing of Yeats’s ‘Oedipus’ in its early years (1904-1912) are interpreted through the motivation for its creation. This shows how a race developed between Irish and British dramatists in attempting to stage the first Anglophone version. Yeats’s abandonment of the play in 1912 (for fourteen years) is explained through the loss of his motivations once Britain staged it first. These factors, amongst others, have been overlooked or inadequately explained by scholars because Yeats’s ‘Oedipus’ has not been addressed through his reasons for writing it. By tying together his motivations with the genesis of the text, this study explains the ‘King Oedipus’ in its essence as a work that receives the ‘Oedipus Rex’.

- by Joseph Walsh
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- Greek Tragedy, Irish Literature, William Butler Yeats, Modern Drama
- by Laurens De Vos
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- Theatre Studies, Antonin Artaud, Modern Drama, Sarah Kane

En este trabajo presento un análisis de la manera en la cual Juan de la Cueva estructura el espacio y el tiempo dramático en dos de sus tragedias: la Tragedia de la muerte de Virginia y Apio Claudio y la Tragedia de Áyax Telamón sobre las armas de Aquiles. Me baso en una propuesta de segmentación de ambas obras que incluyo, en forma de tablas, al final de este estudio. Para mi perspectiva de análisis, resultan esenciales tanto el concepto de «espacio itinerante» de Javier Rubiera, como los estudios sobre la significación del tiempo en escena llevados a cabo por Piermario Vescovo.

- by Laura Paz Rescala
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- Modern Drama, Siglo XVI, Dramaturgia, Tragédia
- by Yana Meerzon
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- Modern Drama, X Rays, Motion Pictures, Iron

El artículo explora las convergencias entre el teatro de la crueldad de Antonin Artaud y la búsqueda paralela de Roberto Arlt en el caso concreto de su obra La isla desierta. Se apuntan las influencias rastreables en esta pieza y se señala su inspiración como originada en el símil de la caverna de Platón. Asimismo, se realiza una síntesis de estos dos proyectos teatrales, donde se exponen las afinidades, como también las diferencias entre las dos versiones de la crueldad.

- by Spyridon Mavridis
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- Antonin Artaud, Modern Drama, Latin American literature, Theatre

Wole Soyinka won the Nobel Prize for Literature in 1986. In Wole Soyinka - Postmodernism & Liminality, Kemi Atanda Ilori explores the interjunction between postmodernism, myth and ritual in Soyinka’s theatre and connects it to postcolonialism. The analyses are emboldened by perspectives from the notions of abjection by Julia Kristeva, Subject-Object categories of self-reflexivity and self-representation by Michel Foucault, and “otherness” (alterity) by Emmanuel Levinas. The paper also explores Soyinka's “fourth stage” approach to dramatic practice as illustrating the performative sensibilities of his art. Overall, there is an in-depth exploration of the staging mechanics of Soyinka's plays. In particular, Barthes's poststructuralism, Foucault's notions of power, and core aspects of performativity and intertextuality, alongside Soyinka's "fourth stage" become the main theoretical grounds for this study.

- by Dr. Kemi Atanda Ilori
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- Dramatic Literature, Dramaturgy, Applied Drama/Theatre, Modern Drama
- by Alireza Fakhrkonandeh
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- English Literature, Translation Studies, Literature, Modern Drama

... Parks's project of ''repetition and revision'' can be considered another form of ''parody.'' From the linguistic plays on... more

... Parks's project of ''repetition and revision'' can be considered another form of ''parody.'' From the linguistic plays on ''Fathuh'' (175), which is ... to prescribe a vision of postmodernism, his writings are diagnostic; he refuses to excuse postmodernism any more than a doctor would try ...

- by Myka Tucker-Abramson
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- Modern Drama
- by Bryan Reynolds
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- Critical Theory, Performing Arts, Theatre Studies, Performance Studies

Resumo: O fim da pólis grega representa o esgotamento da força vital em que se originou a tragédia e por consequência, o fim da tragédia clássica, no entanto é notável a influência do teatro antigo sobre o espírito ocidental, originando o drama trágico. Observa-se na obra dramática de Dias Gomes um processo variado e formas, nem sempre homogêneas no que se refere ao valor e às próprias aspirações artísticas, no entanto, tal obra se distingue, apesar de tudo, pela unidade fundamental. Essa unidade reside no empenho consequente e pertinaz por valores político-sociais, por valores humanos, preocupação com a realidade local e ao mesmo tempo universal, pela criação de personagens morais, éticos que defendem valores humanos. Nesse sentido, suas personagens se aproximam das personagens do teatro trágico. Abstract Abstract Abstract Abstract Abstract: The end of the Greek polis represents the exhaustion of the vital force that gave rise to the tragedy and, consequently, represents the end of the classical tragedy; however, it is noticeable the influence of ancient drama on the Western mind, resulting in the tragic drama. It is possible to notice, in the dramatic work of Dias Gomes, processes and forms that are not always homogeneous with regard to the artistic value and even the artistic aspirations; however, his work is different mainly because of its fundamental unity. This unity lies in the consistent and tenacious commitment to political and social values, to human values, to the concern for the local and at the same time universal reality, and to the creation of moral, ethical characters, that is, characters that defend human values. In this sense, Dias Gomes' characters are close to those of tragic drama.

- by Lourdes L K A Alves
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- Dramaturgy, Modern Drama
- by Yosef Garfinkel
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- History of Science, Modern Drama, Theatre, Dance
- by Flourakis Andreas
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- Greek Literature, Theatre Studies, Dramaturgy, Drama In Education

This paper is inspired by theatre scholar Tutun Mukherjee's advocacy of the necessity of attending to works by regional women playwrights for a greater understanding of women's voices. The aim of this paper is to undertake a close reading of Jameela Nishat's Urdu play Purdah which has been translated into English. The first part provides a very brief introduction of the playwright. The second part examines the remarkable presence of heteroglossia and enumerates on the play's feminist concerns.

- by Sushila Vijaykumar
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- Modern Drama, Translation, Women Playwrights, Indian Drama in Translation
- by guillermo verdecchia
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- Modern Drama

This research paper demonstrates another semantic presentation of Metaphor in Gothic texts .i.e. The Island of Doctor Moreau (1896) and Dr.Jekyll and Mr.Hyde (1886), by way of setting in opposition generic understandings of rhetoric in due pace. On the face of it, narration becomes a conditional cognizance of intra-textuality, independent from any authorial promptitude; but which multiply the "subjects" and "objects" into play. In this effect and by conducting a recurrent identification of Metaphoricity in the referential function of metric-levels in music, against the sub-conscious gradations of characterization,a novelty of Dramatic standpoints become imminent according to which we come across new dramatis personae, new shades of empiricism and definitely an author who is scarcely in reach of his text.

- by Yehia Mahmoud
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- Theatre Studies, Modern Drama

From the introduction to "The Existential Actor: Life and Death, Onstage and Off." In the book I look at approaches to the art, craft, and training of actors beginning with Aristotle, through Diderot, Talma, Delsarte, Stanislavski, and on to Brecht, Strasberg, Meisner, Grotowski, Overlie, and more. I explore these many attempts to codify the actor's process and find my own synthesis in four elements: shape, action, transaction, and surrender. The underlying theoretical framework derives from existential philosophy and psychology, and especially the work of Ernest Becker who held that, in theatrical terms, the primary "action" of every human being is the construction and defense of a project of identity and meaning.

- by Jeff Zinn
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- Theatre Studies, Theatre History, Drama In Education, Existential Psychology
- by Marissia Fragkou
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- Sociology, Philosophy Of Language, Theatre Studies, Migration
- by Bryan Reynolds
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- Critical Theory, Theatre Studies, Performance Studies, Shakespeare

In spite of the big strides in the field of granting black people in the United States of America their rights since the abolition of slavery, race-and gender-based discriminatory practices are still prevalent. The paper aims at exploring the gender-based discrimination against a homeless black mother who is oppressed and exploited by the very institutions that are originally established to help her. It is divided into three sections. Section one deals with the questions of race and gender in contemporary America. Section two deals with the various forms of gender-based discrimination in Suzan-Lori Parks's In the Blood while section three states the main conclusions of the study. It is concluded that unlike black men, black women are oppressed not only because of their race and class, but also because of their gender. Also, Parks wants to emphasize that unlike in the past, forms of discrimination in contemporary America are less clear and direct.

- by hana ghani
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- Modern Drama

Introduction to the Fall 2008 special issue of Modern Drama entitled "Theatre and Medicine"