Dramatic Elements Research Articles

“Hope in a hashtag”: the discursive activism of #WhyIStayed

Hashtag feminism, or feminist activism that unfolds through Twitter hashtags, has become a powerful tactic for fighting gender inequities around the world. Feminist media research, however, has yet to grasp the implications of this new form and social movement research has yet to model the conditions under which activists successfully mobilize online. This article builds on research regarding the potential and limitations of hashtag feminism to consider a question that remains understudied: what is the process through which a feminist hashtag develops into a highly visible protest? Through a case study of #WhyIStayed, which arose in response to a 2014 NFL domestic violence controversy, I frame hashtag feminism as an extension of the movement’s historically rooted discursive tactics. Hashtag feminism’s narrative form implies that the conditions for a successful online feminist protest parallel the elements of an effective dramatic performance. Using data collected from Twitter and news media, I identify the dramatic elements that propelled #WhyIStayed tweets from online personal expressions to online collective action.

KONSEP GARAP PAKELIRAN FORMAT TELEVISI

Leather Puppet is a traditional performing theatre . In Its performance, there is some drama elements in which particularly identity with the drama elements in television. Both are separated by the medium of the performance. Television drama is created certainly suitable for television format. Where as wayang kulit or leather puppet has its format namely pakeliran or live performance. In order to switch and match the previous format into television format it must fulfill some criteria of course from the basis of television format.Keyword : leather puppet performing, television format

ПОЕТИКА РЕМАРКИ ІВАНА ТОБІЛЕВИЧА

Remark is an important structural element of drama and the only form of author's presence in a dramatic work. Remarks perform auxiliary function, and, at the same time, they have a special place in forming the ideas of dramatic work, especially in the “new drama”. Ivan Tobilevych`s drama is close to the “new drama”, and therefore it is important to study remarks in his works, from the view of their role and function. The article has systematized the remarks of the playwrighter by the location (inline, outside text, characters) and function (emotional, actions, address, descriptions, spatial). Typical for Tobilevych are remarks that describe houses of Cossacks and wealthy farmers; less description can be found in the appearances of the houses, courtyards; and there are no landscape descriptions.

Dramatic Elements of “Qanbar’s Elegy” Ritual in Fasa, Iran

Theory of the origin of ritual theater is still the most credible theory on the development of drama in the world. Rituals in terms of function, construction and even implementation are very close to drama, so that at times they cannot be clearly separated. Now the question is that what are the dramatic elements of the “Qanbar’s Elegy” ritual in Fasa, Iran? The present study answered the question by referring to the history of the world and Iran. The rituals are a form of knowledge and a means of recording events and sanctities. Since the Ta’zieh of Qanbar’s Elegy unites the audience, who are also the actors, through a social and creative activity, and equalizes the individual truth of the participants with the cosmic truth, it could have the required elements of play; elements such as location, performers, dramatic movement and the audience. The present research paper has tried to review the dramatic aspects of Qanbar’s Elegy ritual in the city of Fasa in a descriptive analytical way.

‘Blurring the lines between fact and fiction’: Ken Russell, the BBC and ‘Television Biography’

Working for the BBC arts programmes Monitor and Omnibus during the 1960s, Ken Russell was responsible for a series of biographical films based on the lives of painters and composers. Tracing the development of Russell's work from Prokofiev (1961) and Elgar (1962) through to Bela Bartok (1964) and The Debussy Film (1965), the article examines how Russell's incorporation of elements of drama into the arts documentary generated arguments, both within the BBC and beyond, about the legitimacy of mixing ‘fact’ and ‘fiction’ in such works. These debates focused, in particular, on the use of ‘dramatic reconstruction’ and subjective ‘interpretation’ and the ‘fairness’ of the films’ treatment of the artists and composers with which they dealt. As a result of its unusually explicit representations of sex and violence, Russell's film about the composer Richard Strauss, Dance of the Seven Veils (1970), took these arguments to a new level. Through an examination of the responses that the film generated, the article concludes that, due to the degree to which the programme departed from BBC norms of documentary practice and the related values of ‘impartiality’ and ‘good taste’, it became a work that tested the very limits of what the BBC then considered it possible to transmit.

Revolting acts and impassioned Haitian men in the francophone world theatres of Vincent Placoly and Simone Schwarz-Bart

This article discusses the presence of Haiti, and in particular Haitian men, in francophone theatre published and staged throughout the world. It discusses Haitian male protagonists’ engagement in quests for sovereignty, and specifically how their passion for this quest leads them into revolting states that are simultaneously yet varyingly political (revolt) and aesthetic (revulsion). Such a claim reawakens the argument that Haitians of Haiti or the diaspora – and even Haiti writ large – continue to be connected to heroic and sometimes misguided quests because of assumptions made about dramatic elements of Haiti’s revolutionary history. Alongside the novel, which has remained the most globally and critically known literary space where such questions take shape, dramatic works like Vincent Placoly’s Dessalines, ou la passion de l’independance (1983), and Simone Schwarz-Bart’s Ton beau capitaine (1987), have also inserted themselves into the conversation for decades. Through a discussion of these works, thi...

Lietuvos televizijos vaidybinės programos medijų adaptavimo ir konvergencijos aspektu (1957–1967)

TV has expanded the audiovisual media opportunities directly spreading the image and sound to the mass audience. Discussions are taking place: to create an independent TV content, or will other media (music, theater, cinema) be re-broadcasters. The first decade of the Lithuanian television (1957–1967) was the time of controversial experiments of the TV aesthetic principles. Technological characteristics (live broadcast, a small black-and-white TV screen) and a specific audience (looking in the home environment) led to the intimacy of performance. On the other hand, the TV was associated with cinema resolution (angles, montage), so the television performances were inserted elements of cinematography. TV was looking for new ways to literary adaptation. Attempts were made to keep the text of the work, the author's thoughts. A specific early television feature was different forms of expression in a television program. Dramatic elements were inserted in documentary programs simulating live reporting. We see efforts to find distinctive adaptation techniques (intimacy of performance, the desire to read a literary work, drama and documentary television program clusters). It was a time of self-perception of the new media, which later allowed to find a specific expression of the TV form and genre (fiction series, games, reality formats, entertainment shows).

Drama Elements in the Prevention of Phonological Awareness Disorders in 5 – 6 Year Old Children

This article contains theoretical analysis about how to develop phonological awareness in children 5–6 years of age and analysis of empirical findings. Elements of drama provide the great opportunity to improve phonological awareness.Reading and writing are the two most important techniques which pupils must achieve at school. Phonological awareness training has significant effects on overall reading ability, spelling, and reading comprehension. There are several well-established lines of argument for the importance of phonological skills to reading and spelling. Phonemic awareness is the ability to notice, think about, and work with the individual sounds in words. We know that children’s skills in phonological awareness is a good predictor of later reading success or difficulty. Some conclusions were drawn from theoretical and empirical findings. In this article, analysis of scientific and methodological literature is used as a method. Main findings –development of phonological awareness in children 5–6 years of age is possible and effective when using drama elements.

A Market-Based Model of State Supreme Court News: Lessons from Capital Cases

AbstractIn this article, we present and test a market-based model of news content about state courts of last resort. We test our theory by examining newspaper coverage of decisions in death penalty cases. Our empirical results indicate that news elements of drama, novelty, and sensationalism influence coverage of state high courts' death penalty cases rather than traditional indicators of legal salience. News content either anywhere in a newspaper or on its front page is influenced by similar factors, but front-page coverage is more sensitive to dramatic conviction reversals and the rarity of executions in a given state. Our results suggest that traditional explanations of the relationship between crime and newsworthiness have limited impact on media attention given to state supreme courts. Media coverage of state high courts is instead associated primarily with the behavior of the court and its justices.

The formal properties of Virginia Woolf’s novel “The Waves”: polylogue participants

The present article focuses on V.Woolf’s experimentation with narrative and ambitions to pursue a technique able to transgress the boundaries of socio-descriptive Victorian and Edwardian fiction, and to open a dialogue/polylogue for different participants, i.e., for different kinds of literature such as epic, lyric and drama. In the article the arguments are based on the formalist aesthetics of Roger Fry and Clive Bell whose theories had a crucial influence upon Woolf’s writing. Having set the novel within the framework of the postimpressionist paradigm, Woolf extracts the epic, lyric and dramatic elements out of their natural habitat, and misrepresents and distorts them, and employs the so-called “estrangement” method, i.e., Woolf adheres to the postimpressionistic tenets not to merely reproduce and copy the things seen: an artist is expected in some way or other to misrepresent and distort the visual world. Woolf synthesizes arts and achieves a form which encompasses the elements of painting and music altogether. Moreover, not only does “The Waves” enter the polylogue with different kinds of literature, it also resumes a dialogue with (Romantic) tradition and its preoccupation with the inner form as the form which best expresses the depth of spirit, the moments of being.

Ritual and the Idea of Europe in Interwar Writing by Patrick R. Query

Ritual and the Idea of Europe in Interwar Writing by Patrick R. Query Farnham, UK: Ashgate, 2012. 257 pages In September 2011, Jose Tomas appeared before a packed audience for the final fight in Barcelona's iconic bullring. After Tomas was carried off on the shoulders of the crowd, spectators surged into the arena to gather sand from the ground which had, moments before, been paced by bull and bullfighter in their deadly dance. The New York Times described these fistfuls of dust as "souvenirs," but, as Patrick Query's study of ritual, modernism, and the idea of Europe wishes to remind us, we might also understand them as relics, a piece of sacred ground once touched by the blood of a sacrificial victim. And, as Query's book convincingly demonstrates, the play of local and European identity at work in contemporary debates about the role of the bullfight--its use as badge or bludgeon in discussions of Catalan, Spanish, and European identity, let alone concerns about its inherent violence--has a long pedigree testified to in a wide variety of interwar writing. While Query's analysis of the bullfight's ritualistic function is in many ways the most dramatic element of his nuanced argument--the cover appropriately features the bullfighter in midflourish before a large crowd--it is only one element in an impressive study of diverse literary and ritualistic forms deployed in the exploration of the idea of Europe between the wars. Ritual and the Idea of Europe in Interwar Writing argues that verse drama, the bullfight, and the Catholic Mass provide the ritual tools and sacred spaces whereby modernist writers defined, tested, suspended, and potentially harmonized a host of apparent opposites, most notably the tense relations among the local, the national, and the European grounds of political identity. The architecture of Query's study is based on a series of elegant triads. Verse drama, bullfighting, and the Mass are married to a trinity of modes of engagement: making, watching, and using ritual. The study of each ritual form's literary presentation is introduced in one of three interchapters that contextualize the particulars of the ritual under investigation. Readers unfamiliar with the uneven public life of modernist verse drama, the accoutrements used in the faena, or the history of Catholic oppression in Mexico will leave the book with an excellent understanding of the pertinent basics of each. Query provides close analysis of texts ranging from T. S. Eliot's Sweeney Agonistes, D. H. Lawrence's The Plumed Serpent, and the Mexican travelogues of Graham Greene and Evelyn Waugh, to name only a few. If at first blush this list seems eclectic, he provides ample support for his principles of selection in the introduction. There, Query builds suitably flexible definitions of both Europe and ritual. In the case of Europe, Query surveys possible definitions of European identity articulated by thinkers including Jacques Derrida, Bernard Crick, Andreas Michel, and Edmund Husserl (again, to name only a few), not so much to debate their definitions but rather to shift the conversation away from an essentializing question-and-definition dynamic. While criticizing the "blind spots, exclusions, and false assumptions" in Cricks argument, for instance, Query finds a toehold in Crick's assertion that Europe is ambiguous" (6). Rather than write such ambiguity away, Query dwells on it as an essential feature of the idea of Europe, a tension born of the relationship between local cultures, languages, and traditions and the broader concept of a unifying European identity. Specifically, rather than answering the question "What is Europe?"--a formulation that, as he notes, can result in some very conservative and totalizing replies--Query pivots back to the literature to ask: "What does an idea of Europe expressed in the literature of ritual contain? What cultural material adheres to it, and what falls away? …

“Between Poetry and Performance”: The Nemesis of Richard III in Two Contemporary Japanese Translations

Shakespeare translation may be conveniently evaluated in terms of the two generic standards of poetry and drama that constitute poetic drama, each of them affecting the way that stage translations of Shakespeare’s plays are received within non-Anglophone theatres. In the long history of Shakespeare translation in Japan, for example, we can see how translators through to the 1970s were preoccupied with finding an appropriate poetics of translation that to some extent reflected the development within the recipient culture of new poetic forms away from traditional syllabic verse, while for contemporary translators such as Matsuoka Kazuko and Kawai Sh ichir ? riding on the phenomenal growth of the modern Japanese theatre ? the focus is inevitably theatrical. The dichotomy of poetry and drama risks subordinating Shakespeare translation to powerful cultural norms that determine how Shakespeare should sound and appear in performance. Against this tendency, the views of theorists such as W.B. Worthen (drama) and Lawrence Venuti (translation) can be assimilated to argue that what Shakespeare translators are in fact doing is to generate a sophisticated dialectic of poetic and dramatic elements that makes translations not so much meaningful as highly interpretive, or rather open to theatrical interpretation. My discussion of two recent translations by Matsuoka and Kawai of Richard’s nemesis in Richard III (5.4) suggests that Kawai’s translation is slightly more “poetic” than Matsuoka’s, and Matsuoka’s slightly more “dramatic,” based on my own analysis, a survey of colleagues and students, and on what they themselves have said about their respective translating styles, and yet the differences are only slight.

Women And Visual Representations Of Space In Two Chinese Film Adaptations Of Hamlet

Abstract This paper studies two Chinese film adaptations of Shakespeare’s Hamlet, Xiaogang Feng’s The Banquet (2006) and Sherwood Hu’s Prince of the Himalayas (2006), by focusing on their visual representations of spaces allotted to women. Its thesis is that even though on the original Shakespearean stage details of various spaces might not be as vividly represented as in modern film productions, spaces are still crucial dramatic elements imbued with powerful significations. By analyzing the two Chinese film adaptations alongside the original Hamlet text, the paper attempts to reinterpret their different representations of spaces in relation to their different historical-cultural gender notions.

남사당놀이 연구의 성과와 과제 - 1956년부터 2012년까지를 중심으로

This study is to look at the results and tasks of the researcho n Namsadang play, which is listed as World Heritage important intangible cultural property by UNESCO. Through this, we will find the research trend and suggest the basis for future research directions. There are 76p apers on Namsadang play, and their publishment was most active in 2006. More than half of the research ws aabout Deol-mi2), one of the 6 sections of Namsadang play. The most actively researched field was the hisotry & theatricals, and the next were play & joke, transmission method, comparative study, music, education & society, aesthetics & idea, values reflected, study on dance, study on characters, and the costume. Among th eintegrated researches, Deol-mi appeared most common(39 papers) while Beo-na3) was dealt only in 1 study, which indicates the needs for multidirectional study. By study method, document research and site research were most common because of the nature of Namsadang play. However, I believe that the document-based quality research or experiment research is necessary to study the concrete details of the dramatic elements or dance motions/methods. In summary, the studies on Namsadang play have been concentrated only on smoe of the 6 sections of the play and has limitation of dealing only with the transmission method or existing appearance. Therefore, it is necessary to build the academic conditions to enable the original and professional studies to influence the whole research field of Namsadang play.

Korean Musical Drama: P'ansori and the Making of Tradition in Modernity. By Haekyung Um

Readers unfamiliar with the subject of this book may be surprised to find that the ‘musical drama’ in the title turns out to be performed by a single singer to the accompaniment of a single drum. By most definitions, the Korean traditional performing art p’ansori is more a form of storytelling than of drama. It does incorporate dramatic elements, for instance in the singer’s use of acting and of different ‘voices’ when delivering the words of different characters—but then, so do most forms of storytelling worldwide. It does not incorporate the dialogue between multiple actors that is generally associated with ‘drama’, let alone the stage scenery and ‘props’ of the theatre. Yet Western visitors to Korea from the late nineteenth century onwards recognized p’ansori as Korea’s nearest equivalent to the theatrical art forms that had developed in other East Asian countries, and that seemed conspicuously absent from Korea. By then, p’ansori had risen from its humble origins among the peasantry of the southern provinces to become one of Korea’s pre-eminent art forms, enjoyed by audiences throughout the peninsula and at every level of society right up to the royal family. As a result of elite patronage, its words and music had been elaborated by the layering of erudite expressions from Chinese poetry over the original rural Korean dialect, of melodic modes from various regional and court styles over the basic south-western folk idiom, and of ethical themes from the Confucian ideology of the ruling class over a romantic and often tricksterish repertory of folk tales and legends. Thus, as Um succinctly puts it, while p’ansori is ‘simple and minimalistic in form … it is also complex in its literary and musical content and expression’ (p. 211).

PDI Dreamworks와 Pixar 애니메이션에 나타난 아이러니적 특성 연구 -<슈렉 포에버>와 <몬스터대학>을 중심으로

이 연구는 형식적인 측면으로 쇼트에서의 아이러니적 반전과 내용적인 측면으로 내러티브 구조 안에서 복선으로 인한 아이러니를 살펴보고자 하였다. 미국의 주요 애니메이션 제작사인 PDI Dreamworks, Pixar에서 만들어진 최근 장편 애니메이션에서 아이러니가 어떻게 사용되었는지 고찰해보고자 하였다. 표현된 것과 숨겨진 실제 간의 괴리인 아이러니는 본 연구에서 살펴본 바와 같이 두 가지로 정리된다. 아이러니는 상황설정 후 예상과 암시의 과정을 거쳐 마지막 장면에서 극적으로 나타난다. 주로 극중에 등장하는 캐릭터의 성격묘사나 사건이 일어날 배경의 설정을 위해 사용되어 웃음을 전해준다. 두 번째로 아이러니와 관련하여 애니메이션 초반에 등장한 복선이 극의 중반 또는 후반에 인과관계를 가지고 반전으로 드러났다. 이 아이러니는 극적인 요소를 강화시키며 이야기를 풍성하게 만들어주기 위해 사용되었다. 미국의 주요 제작사에서 제작된 두 편의 장편 애니메이션에서 분석해본 결과, 연속되는 장면에서의 아이러니나 내러티브 안에서 연속되는 등의 다양한 아이러니적 표현의 사용을 찾아볼 수 있었다. The purpose of this study was to identify ironic characteristics that appear through ironic reversal in formal aspect and foreshadow structure examined through the progression stage of irony within the narrative structure in contents aspect. This study is intended to research how ironic expressions is embedded in latest full-length animation created by major animation production companies in America, such as PDI Dreamworks and Pixar. As identified in this study, the irony can be defined into two categories. First, Irony appears dramatically in a last scene through the process of prediction and implication after setting up a situation. It delivers laughter as it is mainly used to portray characters or to set up backgrounds for incidents. Secondly, foreshadow that appeared in the early part of animation in relation to irony was revealed with a surprising twist with the cause-and-effect relationship in the middle or end of the play. The irony strengthens dramatic elements and was used to make the story richer. By analyzing two american full-length animation films, various consecutive ironic expressions in narrative, which is the reversal irony in continuous scene or irony used with foreshadow were identified.

Staging the body and space in television: Jozi H as a case in point

Abstract The medical drama series is uniquely positioned to draw together a technology of care as well as a technology of representation. It becomes the nexus where the series’ plot with its dramatic elements and the medium – namely, television, used to represent the narrative – converge. The human body forms the foundation of all television’s narrative. In relation to this, the nature of healing as something that concerns the body as a corporeal and social entity recuperating within a given time frame and within a particular space emerges. The continuity that television lends to the movement and flow of bodies further provides authenticity to the representation of the (healing) human body – a constituent part of the larger body politic itself. This article provides a theoretical and practical exploration by exploring the credits sequence of a South African Canadian medical drama series, Jozi H (2007), set in metropolitan Johannesburg.

Dramatic Elements in the Savar Chaseh among Bakhtyari Tribe

In this paper, an attempt is made to study the Savar Chavaseh ritual among Bakhtyari people. Savar Chevaseh, which means a person sitting in a reversed position while riding an ass, is a ritual, which is intended to punish a convict or a criminal who happens to disturb and bring accusation to his / her family. The author has chosen Bakhtyari people, located in the Southern province in Iran, Khuzestan, to commence the study. He has made use of a qualitative ethnographical method and interview devices. The result shows that the Savar Chavaseh is not only a dramatic ritual but also, as far as performance is concerned, it uses such elements like plot, actor, dialogue, stage, music, costume and audience.

How the Soviets Explored the Cosmic Void and Found … Nothing

James T. Andrews and Asif A. Siddiqi, eds., Into Cosmos. 344 pp. Pittsburgh: University of Pittsburgh Press, 2011. ISBN-13 978-0822961611. $27.95. Andrew L. Jenks, The Cosmonaut Who Couldn't Stop Smiling. 318 pp. DeKalb: Northern Illinois University Press, 2011. ISBN-13 978-0875804477.$35.00. Eva Maurer, Julia Richers, Monica Ruthers, and Carmen Scheide, eds., Soviet Space Culture. 344 pp. Basingstoke, UK: Palgrave Macmillan, 2011. ISBN-13 978-0230274358. $90.00. In fullness of time, Soviet success in space exploration during 1950s and 1960s may well overshadow defeat of Nazis as greatest Soviet achievement. (Alexei Kojevnikov, in his introductory essay in Into Cosmos, goes so far as to say that Sputnik and Gagarin are on their way to attaining status of historical icons, like the pyramids, Great Wall, Santa Maria, evolution, and atomic bomb.) Many countries have evicted an invading army, but only one launched first satellite and first man into space, with added dramatic element of doing so just years after losing millions of citizens and a tremendous amount of economic infrastructure in a war. Despite historical significance and emotional appeal attached to inauguration of Space Age, body of scholarly literature related to Soviet space program remains somewhat undeveloped, with most existing works focused on lifting cloak of secrecy surrounding launches and personnel. The opening of Soviet archives has by now allowed historians to establish reliable answers to fundamental questions such as were true Soviet aims in space? and how close were Soviets to landing a man on moon? Especially thanks to publication of Asif Siddiqi's encyclopedic Challenge to Apollo historians can turn their attention away from what cosmonauts and engineers did and toward what rockets meant. The three books considered here represent a part of this shift, as each aims to highlight impact of space exploration on Soviet society, using space travel as a lens to examine Soviet project more broadly. In addition to this common emphasis, books share a remarkably critical attitude to their object of study, consistently pointing out failure and duplicity that surrounded program. An unstated conclusion impresses itself on mind of anyone who reads them in tandem: while Soviets attempted to use space exploration to support their contention that a socialist country could best chart a path to stars and inaugurate a new era for humanity, they ultimately found in cosmic void nothing usable--only empty space. The unusual thematic unity of these books, two of which are collected volumes and therefore not necessarily expected to promote an argument, derives in part from significant level of common authorship. Andrew Jenks, author of Gagarin biography, contributes an essay to Into Cosmos; Slava Gerovitch, Victoria Smolkin-Rothrock, and Roshanna Sylvester each offer articles in both Into Cosmos and Soviet Space Culture; and Siddiqi writes introduction and an article for Into Cosmos and epilogue for Soviet Space Culture. The limited degree to which volumes diverge from their shared outlook appears related to nationality of authors whose works appear in all three books. The Cosmonaut Who Couldnt Stop Smiling is by an American, and American historians dominate Into Cosmos. Both are far more critical in tone than Soviet Space Culture, which features authors from Europe as well as United States, and essays of European provenance are more descriptive than interpretive. Aside from these few exceptions, overwhelming impression made by three books is that Soviet spaceflight, rather than a world historical accomplishment or romantic struggle to break bonds of earth, in truth lays bare fundamental emptiness of Soviet project as a whole. …

On Thinkers, Poets, and Mysterious Guests in Heidegger’s Second Country Path Conversation (GA 77)

The paper argues that the second of Martin Heidegger’s Country Path Conversations (GA 77), namely, “Der Lehrer trifft den Türmer an der Tür zum Turmaufgang,” provides the reader with a live performance of a dialogue (much advocated by Heidegger) between a poet and a thinker. Through a textual analysis of various dramatic elements in the conversation, I provide an imaginative albeit plausible identification of the three characters in the dialogue (namely, the teacher, the tower warden, and the guest) that makes sense in light of the overall conversational context and opens new possibilities for the philosophical meaning of the conversation itself.