Dramatic Art Research Articles

Eliza Doolittle at Buckingham Palace: An Assessment of Shaw’s Impact in the Twentieth-First Century

ABSTRACT This article examines the impact of Bernard Shaw in the twentieth-first century, through looking at the performance of an excerpt from Pygmalion (1913) at Buckingham Palace, London. This performance was part of a Gala held to celebrate the UK’s dramatic arts, to mark the Royal Academy of Dramatic Art’s (RADA) 110th anniversary, and to celebrate sixty years of Queen Elizabeth II’s patronage of RADA. It was attended by Queen Elizabeth II, the Duchess of Cambridge who is now the Princess of Wales, and Prince Michael of Kent, together with 250 guests, including superstars from the theater, radio, TV, and films holding Academy, Emmy, Grammy, BAFTA, and numerous other awards. The ways these personages encountered Shaw reflected not only the various renditions of Shaw’s plays in modern times, but also the high-level possibilities to revive Shaw, which still need championing before they can materialize.

Formation and Development of Stage Ballroom Dance in Ukraine from the Mid-90s of the Twentieth Century to the Early 20s of the Twenty-First Century

The purpose of the article is to analyse the formation, tendencies and peculiarities of the development of stage ballroom dance in Ukraine from the mid-90s of the twentieth century to the early 20s of the twenty-first century. The research methodology is based on the principles of objectivity, historicism, and systematicity. To achieve the goal, the following methods were used: systematisation – to understand the combination of events in stage ballroom choreography; synthesis – to analyse the specifics of the processes of development of stage ballroom choreography in Ukraine; included observation – to review individual choreographic works, stage performances and their preliminary comprehension. Scientific novelty. For the first time, an art historical analysis of the formation and development of stage ballroom choreography in Ukraine was conducted, the specifics of the existence of ballroom choreography in the stage space were highlighted through the prism of the activities of theatres, show ballets and ballroom dance groups that have been operating since the 90s of the twentieth century. Conclusions. It is important to note that one of the most powerful areas of national choreographic art is stage ballroom choreography. Ukraine is a leader among other countries in the world in popularising ballroom dancing through theatrical and stage practice. In other countries of the world, the competition and sports direction are developing more actively, and foreign show ballets are synthesised forms of classical and modern dance with some elements of ballroom dance. Instead, Ukrainian dancers, including students and graduates of the Department of Choreographic Arts of the Kyiv National University of Culture and Arts (specialising in ballroom choreography), create a large number of choreographic productions, concerts, show programmes, musicals, ballets based on the vocabulary of ballroom choreography, which, unfortunately, remain the property of the local dance community. In our opinion, it is the lack of promotion of this art form, as well as the absence of systematic state support for this industry, that makes it impossible to convey to a wide range of viewers the high potential of ballroom choreography as a spectacular stage and dramatic art form.

Ecclesiastical Content of Byzantine Theatre (Antiphon, Trop)

This article precedes a number of publications devoted to the study of cultural and historical interaction of such different, fundamentally not coinciding, not reducible to each other, but not separate from each other phenomena of social life as art and religion, in particular, the church and theatre. This paper uses the material of Byzantine theatre to examine the validity of the hypothesis of the origin of European drama and theatre from liturgical drama through the church antiphon and literary trope. The tendentious categoricity of the erroneous statement, accepted in science as a heuristic hypothesis, about the influence of residual-rudimentary forms of ancient theatre on the formation of the Christian church rite (antiphonal singing) is considered. It is shown that the Christian antiphon cannot be connected with the ancient theatre because of the centuries-old absence of the chorus in the dramatic action. It is argued that church ritual develops from an “inner form” proceeding from the immanent properties and qualities of the divine liturgy. Since this formulation of the question is carried out for the first time, it represents the relevance and scientific novelty of the present study.The version of the origin of Western European theatre from the literary trope, proceeding from the laws of drama as a literary genre, is established by philological tradition without taking into account the specifics of the dramatic event proper. The conclusion is made that the genesis of theatre does not come from the laws of literary processes, but is connected with them through internal interactions. Historically, Byzantine theatre, an integral and autonomous phenomenon of theatrical culture, ceased to exist in the middle of the 15th century, having failed to realize its dynamic potential of dramatic art. Nevertheless, the relevance of the prospective study confirms the facts of the Byzantine theatre’s indirect influence on the substantive aspects, as well as its direct impact on the formation of a new type of dramatic conflict — “internal”, in the development of Western European and, to a greater extent, Russian theatre.

Transformative Impact: Dramatic Arts for Grade 12 Academic Excellence

The study investigated the influence of dramatic arts on academic performance among Grade 12 students. The study was framed within the social constructivism theory, which posits that learning is an active, social process where students construct knowledge through interaction with their environment and peers. The study employed an interpretivist qualitative research methods to explore the transformative potential of dramatic arts, emphasising the impact on critical thinking, problem-solving, and proficient communication. Data from 117 students in Grade 12 who were part of a purposive sample were gathered using open-ended questionnaires, interviews, and classroom observations. The data was analysed through thematic analysis. The findings highlighted the positive impact of dramatic arts integration on academic performance, student engagement, empathy development, and communication skills. Participants reported enhanced critical thinking skills, deeper subject understanding, and a more meaningful relationship with academic subjects. The study also offered recommendations for educational institutions, including developing comprehensive programs incorporating dramatic arts, continual professional development for teachers, building robust assessment and evaluation systems, and collaboration with local theatre organisations and cultural institutions to enhance students’ understanding of dramatic arts.

Мольер на татарской сцене

In the process of the formation of the Tatar national dramatic art and the formation of the Tatar theatre, Russian and foreign classics played a significant role. The Tatar theatre turned to Western drama from the first years of its existence. Of the vast world dramatic heritage, the plays of Shakespeare, Schiller and Moliere have proven to be in particular demand. In terms of the number of appeals in this triad of the greats, Moliere is in third place, however, he is not inferior to the English and German playwrights in terms of importance for the development of the Tatar theatrical culture. Moliere stood at its origins; his plays were staged in three pre-revolutionary troupes “Sayar”, “Nur” and “Shirkat”. The French playwright made a significant influence on the formation of the comedy genre line of the young Tatar theatre. Moliere's plays remain on his posters to this day. The article examines the reception of Moliere's dramaturgy by the Tatar theatre at various stages of its development.

Mukha Shilpa (Mask Making) is the Artefact form of Assam

The north-eastern state of Assam is very rich in terms of diverse arts. Revolutionary great men in Assamese literature, culture, society and spiritual life The contribution of Shrimant Shankardev is unforgettable. His great works made this Strengthened the feeling of social and cultural unity in the area. He wrote Ramayana and translated Shrimad Bhagwat into Brajavali language.Vaishnavism in the North-East for propagation, Shankardev started Bargeet, Kirtan, Ankiya Naat (Bhaona) etc. Composed. There are two main forms of dance here – Bihu dance and Satriya dance. bihu dance The identity of Assam has become. All children and elders participate in this. Bihu dance is performed on the occasion of the festival. Bihu song also on this occasion are sung. The central theme of Bihu songs is love. Apart from this, in Assam many folk dances are prevalent. There are many art forms here in the form of songs, dance, drama etc. are present. Shankardev gave birth to many art forms, including dramatic art and mask art was prominent. Folk plays played an important role in the background of the Neovaishnav movement and its propagation. Folk theaters performed by women are also popular in Assam. Women express their feelings through these folk dramas. Assam also has a rich tradition of folk songs. Bihu is the representative folklore in this region. Through which the common people's passion, hope, Aspirations, joys and troubles take shape. The folk song 'Haidang' of Sonowal Kachari tribe is sung only by men. Various body movements and dance along with songs are the specialty of Haidang. Rabha community of Assam is very rich in terms of folk songs. The folk songs of Miri or Mising tribe are called 'Oi Neetom'.The life and culture of the people of this community has developed in the valley of Brahmaputra and Subansiri rivers. The communities here have a rich heritage of folklore. The folk tales here are full of supernatural incidents. Assam has been considered the center of Tantra-Mantra, witchcraft and spirituality. Therefore, Tantra-Mantras are included in folk tales. Apart from this, idioms and proverbs are also available in abundance.

Enhancing Trilingual Pedagogy in Teaching Dramatic Arts: Insights from Teachers

Enhancing Trilingual Pedagogy in Teaching Dramatic Arts: Insights from Teachers

Analysis of the Value of Educational Drama in Children’s Language Acquisition

With the reform and innovation of modern education, children's education is experiencing significant changes. As a kind of integrated teaching method of art and education, educational drama is introduced in China, which has a positive impact on children’s language acquisition and is worthy of further exploration and practice. The research covers three aspects, namely content, method, and aesthetic education, and believes that organizing corresponding activities can stimulate children's curiosity and desire to explore and provide them with new opportunities for communication, interaction, and practical exploration. Further research puts forward several feasible and effective strategies, through organizing multiple activities to enhance children’s aesthetic education based on drama art and innovating multiple forms to promote their growth. This effectively reflects the positive role of educational drama on children’s language acquisition.

Technological Innovation in Chinese Digital Drama: A Case Study on the Posthuman Transformation of the Performing Subject – Digital Mei Lanfang Analysis

In the global artistic arena, digital performance, a fusion of art and technology is increasingly garnering attention. Accompanied by rapid technological advancements, Chinese performing arts are in a state of continual boundary expansion and exploration of new possibilities. This art form is undergoing a profound and revolutionary transformation with the infiltration and advancement of digital technology. This article, titled "Technological Innovation and Chinese Digital Drama: The Post-Human Transformation of the Performing Subject," delves into how digital technology is innovating traditional Chinese drama by transforming the performing. Centering around the Digital Mei Lanfang project as a pivotal case study, the research demonstrates how digital technology is redefining the subject of drama performance, thereby further redefining the scope and essence of theatrical performance. Employing qualitative research methods, literature reviews, and case study analysis, the article assesses the impact and value of the shift from Natural Human to Posthuman entities as performing subjects in Chinese theatrical arts, driven by digital technology. The research underscores the significance of post-human entities in protecting and disseminating cultural heritage in the digital era. This article aims to expand the boundaries of dramatic artistic expression through the study of posthumans becoming dramatic performing subjects and to provide theoretical foundations and practical references for the future development of dramatic arts. Consequently, this fosters the further development of Chinese dramatic arts in the digital age without losing their original characteristics.

Dramaturgical Design Based on The Legend of Dideng Puti Dayang Ayu from Rantau Pandan

Dideng is an oral art from Rantau Pandan Village whose existence is of concern due to the lack of regeneration. In fact, Dideng art has theatrical, musical and gestural power. The content of Dideng is the legend of Puti Dayang Ayu which has great dramatic potential. Designing a performance concept (dramaturgical design) based on the legend of Puti Dayang Ayu is an effort to revitalize and develop Jambi's dramatic arts. This research aims to find dramatic material to then reassemble into a dramaturgical plan based on the legend of Dideng Puti Dayang Ayu. This research uses a qualitative method with a case study approach. The data collection techniques used were interviews and observation. Data analysis was carried out using three analytical tools, namely data reduction, data presentation, and drawing conclusions. The results achieved from this research are 1). Dideng is a means of entertainment for the people of Rantau Pandan village which does not yet have a good regeneration of speakers. Therefore, creativity is needed to create Dideng in more attractive packaging. 2). The Dideng text was passed down orally so it does not have a standard story. Each speaker has their own version of the story. Therefore, the preparation of the story is adjusted to the dramatic needs of the story. 3). The writing of this play was motivated by the dramatic vision of "rationalization of legend". The main theme is broken promises and is structured in an aristolelian episodic plot.

Stanovsko gledališče v Ljubljani v sezoni 1838/39

This paper analyses the 1838/39 season of the German Theatre of the Carniolan Provincial Estates (Ständisches Theater) in Ljubljana, focusing on its artistic output. The introductory section describes the archival material on the basis of which the theatre’s repertoire was reconstructed and then discusses the role of the theatre’s impresario, Ferdinand Funk, and the most important plays which were performed there. In addition to the works of the Austrian playwrights Ferdinand Raimund, Johann Nestroy, Carl Meisl, and Friederich Halm, those of Eugène Scribe and Shakespeare in German translation featured prominently; women playwrights were also noticeably represented in the theatre’s repertoire. Before the 1848 revolutions the Slovene intelligentsia also patronised the Theatre of the Carniolan Provincial Estates, which was the only theatre in Ljubljana at the time, and refined their taste for dramatic art there.

A COLLECTION OF JAMBI TRADITIONAL GAMES AS A PROJECT-BASED LEARNING IN PLAYWRITING

The research departs from the rich collections contained in the Siginjei Museum, Jambi Province, where one of the collection groups is a variety of traditional children's games in Jambi Province. Based on this, the collection of traditional children's games at the Siginjei Museum, Jambi Province, was then used as a project source for the playwriting course at the Dance and Music Drama Arts Study Program at Jambi University. The research method applied in this research activity is qualitative research using observation and literature review techniques. The results obtained from research activities are in the form of drama scripts that were successfully created by students from the collection of traditional children's games at the Siginjei Museum, Jambi Province. The number of play scripts that were successfully created were four short children's play scripts entitled Ayu Congklak Dewi, Bedil Akbar (Meriam Bambu), Yang Lagi Viral (Gasingan Lampu), and Main Seru (Ketapel). The conclusion obtained is that the Project Based Learning learning model using the collection of traditional children's games at the Siginjei Museum, Jambi Province as a source of student project activities in creating play scripts has been successfully implemented to support the success of Play Writing courses.

Inovasi Teknik Membatik Rizky Juniyanto Pada Produk Properti Seni Pertunjukan

Indonesia has many tribes and cultures, which create various works of art and culture. The enthusiasm of the community in preserving culture has enabled this culture to develop to this day. Artists become more creative and innovative in their work because of the public's enthusiasm for works of art. Artists must have talent and strong determination. Arts in Indonesia, such as Performing Arts and Fine Arts, can be an opportunity for artists to collaborate and develop culture. Performing Arts involves Dance, Dramatic Arts, and Musical Arts, while Fine Arts involves Sculpture, Ceramic Arts, Painting, and Craft Arts. Props and costumes are used in performing arts works, depending on the theme and title of the work to be created. Props such as shawls, plates, umbrellas, fans, trees and stones are used to depict the atmosphere in the performance. Performing Arts and Craft Artists can collaborate with each other for mutual benefit. Rizky Juniyanto is a young Craft Artist who has a variety of batik works, including earthenware batik, cloth batik, umbrella batik, and wooden batik. His works not only function as decoration, but also as everyday objects such as teapots, pans, glasses, plates, savings and jars made of earthenware. These products have high aesthetic and selling value. Rizky Juniyanto also accepts orders for souvenirs and performing arts props. He markets his work through online sites and applications and collaborates with several studios. Apart from producing works of art, Rizky Juniyanto often fills workshops and teaches other people how to make his works to develop craft art. Keywords: Property, Art, Artists.

Dramatic art/theatre in Québec’s Compulsory Education: New Perspectives

The present text refers to the situation of arts teaching in Quebec schools, highlighting the genesis of dramatic art as a school discipline. In this context, the process of an artistic intervention realized in primary classes and focused on « animated reading » is described. The objective of our research project is to determine the effects of such a pedagogical action on the level of self-determination of students (theory defined by Deci and Ryan), on attitudes (Rosenberg et Hovland) and on the progression of knowledge related to competence - 2 The interpretation of the dramatic sequences stipulated in the Quebec School Training Program (Ministry of Education, Recreation and Sport of Québec - MELS, 2001), this article dealing specifically with the results related to the aforementioned competence. The conclusions formulated on the basis of this field experience, carried out simultaneously as a Master's student and an invited artist in the school, offer us the opportunity both to enrich the school program in dramatic art/theatre and to perpetuate the respective discipline in Québec and abroad .

SENI DRAMA SEBAGAI MEDIA DAKWAH PADA SANTRI PONDOK PESANTREN WALI SONGO PURWOSARI PASURUAN


 
 Dramatic art as a medium for da'wah is a form of applying da'wah bil hal as is usually done in the
 Wali Songo strategy for spreading Islam. The Wali Songo Islamic Boarding School, Purwosari
 Pasuruan, uses dramatic arts as education and a medium to convey d
 a'wah messages. This research
 was motivated by the design and delivery of a da'wah message through dramatic art which was
 quite interesting and relevant to the students of the Wali Songo Islamic Boarding School,
 Purwosari Pasuruan. Therefore, the aim of th
 is research is, first, to find out the design of dramatic
 art as a medium for preaching to the students of the Wali Songo Islamic Boarding School,
 Purwosari Pasuruan. Second, to describe the process of conveying da'wah messages through
 dramatic art as a me
 dium for da'wah to the students of the Wali Songo Islamic Boarding School,
 Purwosari Pasuruan. The research method in this scientific work, the author uses a qualitative
 research method with a case study type. Meanwhile, this type of research uses descript
 ive
 qualitative by conducting in
 -
 depth observations and interviews with the research object. The
 design and implementation of this dramatic art is by quoting storylines or scripts from several
 books after recitation with Islamic boarding school caregivers
 and displayed at khitobah activities
 every Friday with Jamiyyah Farhaniyyah. Meanwhile, the targets of the da'wah for the dramatic
 
 
 
 
 
 
 
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 Vol.
 6
 No.
 1
 Januari 2024
 Jurnal
 Komunikasi
 &
 Konseling
 Islam
 |
 2
 arts performance activities are the students of the Wali Songo Islamic Boarding School, Purwosari
 Pasuruan, who they usually
 call performing the Koran arts. The conclusion of this research is that
 the design for preparing dramatic arts is to recite the yellow book with Islamic boarding school
 teachers and then review the material from the book that has been studied into a drama
 script by
 holding a script review with the director and the players/actors. Meanwhile, the process of
 conveying da'wah messages through the art of drama applied by the students of the Wali Songo
 Islamic Boarding School is by conveying words of wisdom in bo
 oks that have been studied and
 discussed by emphasizing the elements of speech (vocals), expressions or facial expressions, as
 well as acting. and play a role.
 

Come perenne metamorfosi. Orazio Costa e la mimesi


 
 
 Orazio Costa, theater director and teacher for over thirty years at the National Academy of Dramatic Arts in Rome, is the author of a pedagogical system called mimic method. It consisted of a theory and a practice aimed at revitalizing the concept of mimesis. The practice included exercises on identification with natural phenomena, necessary for staging dramas respectful of human nature and poetic inspiration. While Avant-gardes rejected art as imitation of an object, and the new theatrical forms refused the value of the dramaturgical text within the performance, Costa defended the role of literature and the representation of human events in the theatrical ritual. Despite the accusations of traditionalism, his idea of mimesis is absolutely in line with the twentieth- century reception of the notion. Like authors such as Benjamin, Adorno, Ricoeur, the director has analyzed mimesis as an innate behavior, and he based his aesthetic positions on this conception. For Costa, art is the wonderful metaphor of the encounter between the individual and nature, which pushes towards forms of expressions comprehensible to the community.
 
 

АКТЕР СИНТЕТИЧЕСКОГО ТИПА В МУЗЫКАЛЬНОМ ТЕАТРЕ XXI ВЕКА

This article discusses the methods of staging musical performances in the XXIst century and the creation of an artistic image embodied by the actor during the stage action. It emphasises the importance of the psycho-physical state of the artist in connection with the authentic life of the stage character, the significance of the plastic expressiveness of the actor in theatrical practice, referring to the works of great figures of Russian theatrical art — K. S. Stanislavsky, V. E. Meyerhold, М. A. Chekhov, A. Ya. Tairov, A. B. Droznin. The general synthetic nature of musical, vocal, plastic, choreographic and dramatic art, in which the public is currently interested, is revealed and analysed. The reasons for the active growth in the popularity of musical theatre and its specific genres in the XXIst century are explained. Productions of two Moscow educational theatres — the Institute of Modern Art and the Russian Institute of Theatre Arts (GITIS) — based on the fairy tale An Ordinary Miracle by E. L. Schwartz are described and compared. In order to prove the reliability of the author’s judgements and the relevance of the topic, an interview was conducted with the Russian actor, director of musical performances and musicals, vocalist, teacher of “Musical Education” at the Department of Theatre Arts of the Institute of Modern Art U. A. Chebotar. The interview is presented in Appendix no. 1.

El espíritu filosófico en el teatro tradicional Chino

Abstract: Chinese drama has its origins in primitive forms of singing and dancing, and has since evolved into a comprehensive art form with a rich history. It is considered one of the three ancient drama cultures, alongside ancient Greek drama and Indian Sanskrit drama. Different nations have different cultures with unique national characteristics, while personalized philosophical concepts play a leading role in the formation of culture. Science, literature, art, education, etc., that belong to the cultural category, are all guided and influenced by philosophical thoughts, and drama art is the same. This article discusses and analyzes the philosophical thoughts behind traditional Chinese drama culture.

On the unique creation of “text dramatization” in Sandalwood Death

As the first representative work of Mo Yan's transition period, Sandalwood Death tells the legendary story of Gaomi County's resistance to the German powers with a brushstroke that combines folk customs with magical realism. The work intentionally combines drama art with literary writing, using “cat tune” as an important clue and arranging the plot according to the script to create a dramatic novel with great national art and singing characteristics. This article aims to study how Sandalwood Death achieves the purpose of “dramatization of text” in character creation and plot arrangement. This paper introduces the concept of drama-novel for research. Based on the character creation method in the works and the concept of facial narrative, it finds that the main characters are built as “performers” in the drama, creating unique facial characters. The paper also found that the plot and chapter arrangement of Sandalwood Death combined the unique role of the pre-chapter singing segment and “cat tune” in the work, integrating the dramatic singing segment into the text narrative to achieve a dramatic effect. This paper combines the “performer, stage” relationship essential to “dramatization of text” to analyze the characterization and pre-chapter singing of “Red Sorghum Death” respectively.

The folk song "The bridge of Arta". Bridging modern Greek literature and drama in an educational context

This paper presents the creative use of dramatic tension techniques in teaching literature at secondary school level, with a specific focus on the folk song "The Bridge of Arta." The paper describes the main principles of the Curriculum for the teaching of Literature in Secondary Education in terms of expanding the teaching of texts within the field of dramatic art. It outlines the objectives of the proposal for employing dramatic techniques in this poem and analyzes the plot of the poem. The paper then suggests applications of experiential practice to enhance the elements of dramatic tension within the literary text. Additionally, it discusses the benefits of theatrical exploration in enriching the students' points of view.