Dramatic Elements Research Articles

Evaluation of Implantation Strategies for Integrating Drama Elements into Music Teaching from the Perspective of Educational Ecology

Evaluation of Implantation Strategies for Integrating Drama Elements into Music Teaching from the Perspective of Educational Ecology

Satyr-Play in the Statesman and the Unity of Plato’s Trilogy

Abstract At Statesman (Plt.) 291a–c and 303c–d, Plato compares the so-called statesmen of all existing constitutions to a motley crew of lions, centaurs, satyrs, and other beasts, and the entire section of the Statesman devoted to law and constitutions (291c–303c) to a satyr-play of sorts. This paper argues that these thought-provoking images are best understood as literary devices which, in addition to other dramatic elements in the Theaetetus and Sophist, help to bolster the unity of the Theaetetus-Sophist-Statesman trilogy and its apologetic agenda concerning Socrates.

Parallels and Disparities in Nātyaśāstra and Poetics

This paper interprets the parallels and disparities in Nātyaśāstra and Poetics. The former treatise of drama is set by Bharatmuni from the East; the latter by Aristotle from the West. Hence, these dramaturgies form the bases for the eastern and western plays, respectively. Despite the time and spatial differences between the two, they contain similarities as well as differences. They share the common dramatic elements like gestures, dance and music; rhythm, poet and mimesis; plot, sub-plot and supernatural elements; art and imitation; rasa (evocation of emotion) and catharsis. Likewise, they contain the elements of disparities like language-style differences, semiotic and semantics, abhinaya (acting) and art, the absence of tragedy in the former, Rasa to the former and plot and character to the latter. This researcher explores how these elements of parallels and disparities in the two theories of dramas fit to the eastern and western plays, despite their spatial and temporal gaps. This research is exploratory and explanatory.

Transpozicija biblijske legende u delu Žertva Avramova Vikentija Rakića

The focus of the paper is on the analysis of the dramatic elements in the religious epic Žertva Avramova (Abraham's Sacrifice) by Vikentije Rakić. By interpreting the thematic-motif preoccupations of Rakić's religious epics-the cult of family and sentimental friendship-we conclude that Žrtva Avramova, which in literary studies has different genre designations, contains dramatic elements reflected in the ambivalence when conceptualizing fictional characters who, as much as they are embedded in the family microcosm, are also devoted to Divine providence. Mother Sarah, whose role in the biblical template is non-existent in relation to the religious epic, is portrayed alongside her son Isaac, the representative of an activist concern for his own existence. In the end, we have Father Abraham who experiences a strong internal conflict, the origin of dramatic literature. Dramatic elements, therefore, can be seen in the family theme from which the dramatic situation arises, shaping the characters, and less so in the formal features-such as the sporadic didaskalia found in Žertva Avramova (Abraham's Sacrifice) and the structure of the work itself. The latter can be divided into dramatic phases: prologue, plot, culmination, peripetia, and dramatic outcome. The paper will specifically explore the relationship between the Old Testament model, inheriting the cosmic vertical God-Man dynamic, and the religious epic introducing the horizontal human plane-Man-Man. According to initial premises, this relationship implies the presence of (pre)romantic irony or romantic irony at its inception, which, within the studied epic, reflects an ambivalent attitude towards the biblical moral-didactic teaching.

Bridging the hiatus: Dramatic and poetic elements in Malalo’s kirari

The theme of this paper is farautar jarumta ‘heroic hunting’ in the north-western part of Nigeria. The paper pays particular attention to the kirari ‘praise-epithets’, also called koɗa kai ‘adulation of the self’, of the mafarauta ‘hunters’ as one of the cardinal features of this kind of hunting. It traces certain dramatic elements, such as stage/space, costume and props, dramatis personae, plot, impersonation, and the spectacle as well as the singing and drumming that are an important part of performance of kirari. It further examines poetic elements in Ummaru Usman Malalo’s famous kirari Saka-cira; these elements are grouped into genealogy-based, action-based, and metaphorical yabo ‘praise’. The paper shows that, although the delivery of kirari has, in some studies, been analysed as a song text, it requires performance along with the dramatic elements which belong in a performance. The analysis of Saka-cira – which has never previously been studied – shows that in their kirari, mafarauta utilise poetic devices to portray, embellish, and exaggerate events, comparing themselves with, or even declaring themselves to be an animal or a natural phenomenon. The analysis in the paper relies on the Hausa version of the kirari. It utilises a transcribed version of Saka-cira, interviews, observations, and secondary literature.

Improvisation Strategies in Online Drama Lesson

In drama lessons based on improvisation and role playing, participants express themselves spontaneously, take on various roles and act out by pretending. With improvisation, which is one of the two basic strategies used together with role playing in drama, the participants act in accordance with the designed dramatic fiction. The goal of this research is to determine opinions of the participants about the improvisations performed in online drama lessons. It was attempted in this context to show the influence of participants and instructors on improvisation by determining which strategies were employed throughout the online drama lesson. In this study, interpretative qualitative research design was used and the experiences of the participants were tried to be explored, made comprehensible and interpreted. Participants consist of 21 undergraduate students studying in different departments who attended online drama lessons at Ankara University in 2021-2022 academic year. Participants answered the questions in the "Assessment Form for Improvisations in Digital Platform" online. The data obtained in the research were analyzed with the descriptive analysis, and the findings were explained in accordance with the determined themes and categories. The results showed that the participants used some strategies before and during the improvisation, and these strategies made improvisations more qualified. Participants also stated that while improvising on the digital platform, some situations have positive or negative effects, and they try to adapt themselves according to these situations. The research also reveals that the films watched and the topics discussed during lessons facilitate the participants to take roles while improvising, and the examples given about the elements of drama contribute to the improvisation. According to the results, it is recommended to inform the participants before the improvisations in online drama lesson, to create the dramatic fiction with the participants and to make the improvisations in accordance with this dramatic fiction. The elements of drama may be discussed, short films and feature-length films can be shown, examples can be offered, and improvisations can be made more qualified throughout the drama lesson.

The Cultural Context of the Aberdeen Candlemas Play

Among the lost plays of medieval Scotland the Aberdeen Candlemas play is one of the most intriguing. Our knowledge of its content derives principally from two lists, dating from 1442 and 1505, dividing the roles between the burgh’s various gilds, although the fact that there was some form of dramatic element rather than merely a procession appears to be confirmed by the discovery in the Dean of Guild’s accounts for 1470-71 of a payment of 16d. to “ye men ye maid scafald to ye candilmes play.” This paper focuses on the presence in the cast of The Three Kings of Cologne and of St .Helen and St. Bride. The first two point towards Aberdeen’s commercial connections with the Rhineland and the possible influence of John of Hildesheim’s Historia Trium Regum, while the inclusion of St. Bride brings a Celtic dimension, relating not only to Brigid’s Irish origins and the popularity of her cult in Scotland, but perhaps also to a tradition associating her (or a namesake) with the foundation of the church at Abernethy, and a further link with St. Duthac of Tain. The play therefore unites two aspects of late medieval Aberdeen, Celtic roots and Continental cultural perspectives.

Understanding the Theoretical Framework of Choreography in Bharatanatyam: An Overview

Bharatanatyam is one of the oldest classical dance forms which are in practice today. It has three divisions within itself: Nritham, Nrithyam, and Natyam. Nritham is the pure dance or rhythmic movement of the body, Nrithyam is the part of the dance that conveys emotions, and Natyam is the dramatic representation of dance. For any piece of dance, choreography is important. Choreography, being the art of designing dance, includes inventing or arranging movement and choosing dramatic structures to organize and present it to the audience. Effective choreography comes from the understanding of different elements of movement and the aspects of designing movements. Effective choreography is crucial not just for pieces of a traditional Bharatanatya repertoire, like a Varnam, Patham, or Thillana, but also for dance dramas. However, choreographing a dance drama slightly differs as it incorporates drama elements in addition to dance elements. This paper discusses the theories used in choreography and the elements and aspects that are important in the choreography of any item in a traditional Bharatanatya repertoire. It then discusses how these theories are used in the choreography of dance dramas. Further, this paper postulates that understanding the theoretical framework of choreography can contribute to creating visually compelling and harmonious strings of movements, by bridging the gap between the science behind the body movements and the artistic quality of such movements.

Royal identities and social relations in MER Mathivha’s drama Mabalanganye: a critical language awareness perspective of knowledge regeneration

There is an unfair view that writers in African languages are artists who mostly focus on aspects of literary genres such as theme, plot, characterisation, conflict, setting, time, language and style. From a thematic point of view, Mathivha’s (1974) drama Mabalanganye is often regarded as one that depicts the Tshivenḓa-speaking community of yesteryear, when African royal leadership were a law unto themselves. Some see it as a mythical story in which Mathivha illustrates and reconstructs some failed African history. The purpose of this article is to demonstrate through critical language awareness, and the social constructionist and ethnography of communication theories how Mathivha employs elements of drama to highlight the sociocultural and political life of identity creation and social relations among the Vhavenḓa people of South Africa. Mathivha uses epithets such as titles, clan names and praise poetry as both referential expressions and address names to demonstrate how they construct identities that establish social relations between royal leadership and their subjects, in order to illustrate participatory nationbuilding endeavours. Through these expressions, Mathivha further illustrates how African indigenous knowledge is regenerated to be lived and experienced as a sociocultural and political resource.

희곡 《로미오와 줄리엣》의 장르전환 시점에 따른 세 작곡가의 표현 기법 연구

This paper is a study on the composition technique of Romeo and Juliet , which was created as the largest number of music works among Shakespeare’s plays. As a research method, genre transference, one of the dramatic elements in Romeo and Juliet , was considered, and the expression techniques of the three composers who used it in their works were analyzed. Accordingly, music genres that match the specificity of plays, namely, ballet plays, operas, and musicals, which are mixed forms of music and drama, were selected and analyzed for works by Prokofiev, Gounod, and Bernstein, recognized in the history of music. As an analysis method, first, the time of genre transference of plays was divided into three stages ‘duel/revenge/exile’, and then linked to each composer’s work. As a result, it was possible to confirm the process in which the time of genre transference in Romeo and Juliet was applied to the musical techniques of three composers, and the results were consistent with the characteristics of different genres. These results provide an effective method for the convergence of literature and music, providing a productive perspective on the combination of various arts and contents.

An African Perspective of Drama: The Case of the Homowo Festival among the People of Teshie, Greater Accra Region – Ghana

There have been literary scholars such as Ruth Finnegan who have argued and asserted that drama is not a literary genre that is well developed in Africa. Although this assertion has been refuted and disproved by other literary scholars such as Euchero, Enekwe and Owomoyela, people still struggle with exactly what drama in Africa entails and is about. Whether the dramatic elements and traditions found in the performances are simply not remnants of the encounter with the western world as popularly postulated or they are actually traditions deeply rooted in the culture and identity as Africans. The paper used a qualitative research method that is essentially rooted in ethnography and historical facts that surround the Homowo festival. Also, with Afrocentric theory and Structural Theory of Myth, this paper has critically examined the Homowo festival of the people of Teshie in the Greater Accra Region of Ghana as an African drama and established that the various performances during the festival festivities have the features of drama and not only that, but they practically and vividly show how the performances are rooted in history, myth, rituals and the belief of the people in the community; thus, exhibiting a clear perspective of African drama. This study further contributes to the existing knowledge on oral literature and the treatment of festivals in Africa as a literary genre. It presents the Homowo festival as a fully fledged cultural practice that takes into cognizance essential dramatic elements embedded in its performance. Keywords: Festival, African Drama, Myth, Homowo

THE FORMATION OF ENGLISH LISENING COMPREHENSION COMPETENCE OF PRIMARY SCHOOL LEARNERS USING ELEMENTS OF DRAMA

The article deals with the issue of using drama in the process of the formation of English listening comprehension competence of primary school learners. The essence of the concepts "listening comprehension competence", "drama" is analyzed and the characteristics of drama in the process of teaching English to primary school learners are determined. The peculiarities of using drama in teaching English to primary school learners are outlined and the importance of their usage at the initial stage of education is proved. Particular attention is paid to the practical aspects of the implementation of the method of drama in the process of the formation of English listening comprehension competence of primary school learners in English lessons. The authors identify the stages of teaching listening comprehension competence. The article presents a step-by-step set of exercises for the formation of English listening comprehension competence of primary school learners using elements of drama and a practical illustration of each stage. The authors consider the method of drama to be an effective means of optimizing the formation of English listening comprehension competence of primary school learners in English lessons.

Tabloid Journalism in The Context of Sensationalism in New Media

Tabloid journalism can be considered as a field of journalism that has a strong impact with its current forms of discourse. As a matter of fact, in this field of journalism, news is presented through descriptive expressions and drama elements. The sensationalism factor appears at this point, and it is aimed to make tabloid news interesting and intriguing. When the possibilities of internet technology in the field of new media are considered, it can be claimed that sensational elements can be included more in news presentation styles. Therefore, in this study, it was aimed to reveal how sensationalism is reflected in tabloid news in the internet media. Accordingly, first of all, a conceptual framework was created, and then the data of two different tabloid news sites were examined with discourse analysis. In the news analyses conducted in the context of thematic and schematic structure, the visibility of sensationalism was discussed under six different categories. Consequently, it was found that tabloid news made use of sensational elements in the field of new media.

Imagery, Irony, and Transcendence in Carl Jonas Love Almqvist's The Queen's Tiara

Imagery, Irony, and Transcendence in Carl Jonas Love Almqvist's <i>The Queen's Tiara</i>

Ritualistic Analysis of Liminality in Theatrical Performances

With the development of social media and stage technology, an increasing number of people are attracted by theatrical performances. Originally used to analysis human interactions in a social setting, liminality can also provide insights in examining theatrical performances. By using liminality to analyse theatrical phenomenon, the dramatic effect and attraction of performance can be further revealed based on an anthropological mindset. This article will explain three kinds of liminality under the background of theatrical performance, and compare the three liminalities with the four elements of drama. Some famous drama and musical productions, such as Wo Tou Hui Guan, Dear Evan Hansen, and Secret Love in Peach Blossom Land, will be included as examples. This paper draws links between liminality and theatrical performance in an innovative way, and provides a peculiar perception concerning the connections between theatrical performance and anthropology. From the research, close connection and correspondence between the three kinds of liminality and four elements of drama can be found, leading to the fact that liminality plays an indispensable role in the influences of theatrical performances.

Plato's Socrates on Socrates: Socratic Self-Disclosure and the Public Practice of Philosophy by Anne-Marie Schultz

Reviewed by: Plato's Socrates on Socrates: Socratic Self-Disclosure and the Public Practice of Philosophy by Anne-Marie Schultz Doug Reed SCHULTZ, Anne-Marie. Plato's Socrates on Socrates: Socratic Self-Disclosure and the Public Practice of Philosophy. Lanham, Md.: Lexington Books, 2020. x + 141 pp. Cloth, $90.00; paper, $39.99; eBook, $38.00 The subtitle aptly sums up the twin projects Anne-Marie Schultz sets for herself in this book. One project is a detailed analysis of episodes in Plato's dialogues where Socrates shares his emotional state and personal history, especially his educational experiences, with his audience. Throughout the book, Schultz considers passages familiar to Plato scholars but does so with an eye toward a neglected aspect of the dialogues, namely, "Plato's presentation of Socrates as a philosopher who tells personal narratives." Through careful attention to the text and in conversation with up-to-date scholarship, Schultz makes the case that Socratic self-disclosure is a widespread and significant feature of these dialogues. In doing so, she gives the reader plenty to think about regarding Plato's portrayal of Socrates and other characters, Socratic method, as well as other philosophical and dramatic elements of these passages. The other project concerns public philosophy. Schultz asks us to consider why Plato should present Socrates as a self-disclosing philosopher and what we, contemporary academic philosophers, can learn about (public) philosophy by appreciating this feature of Socrates' practice. Ultimately, she makes the case that we should see Socrates as a model for a public philosopher, one who draws people in by letting them in and encourages the creation of a philosophical community. The book has a clear and straightforward style. Each of the six chapters (along with an introduction and postscript) is well structured with connections that are legible to the reader. In chapter 1, Schultz looks at instances of Socratic self-disclosure in the Theaetetus and by building on the work of Holger Thesleff and Harold Tarrant explores the possibility that Socrates narrated an earlier version of the dialogue. This discussion is worthwhile in its own right, but Schultz also uses it to begin making the case that Socrates employs autobiography and shares his emotions in order to "bring the listener into the experience of philosophical reflection by portraying the learning process as perspective changing, as life changing." Chapters 2 and 3 turn to the Symposium. In chapter 2 Schultz explores Socrates' self-presentation in the dialogue, arguing that he shares [End Page 829] his experiences with Diotima to model what it is to be an eager and engaged student with the aim of drawing his fellow symposiasts to philosophy. Chapter 3 looks at three imitators of Socratic narration in the Symposium : Alcibiades, Apollodorus, and Aristodemus. In addition to continuing the investigation of philosophical self-disclosure, this chapter offers a rich discussion of the frame of the dialogue, a sustained treatment of Alcibiades' speech, and a reevaluation of the two characters who transmit the dialogue to the reader, making it a valuable contribution to scholarship on the Symposium. Chapters 4 and 5 look at Socratic self-disclosure in the Apology and Phaedo, respectively. These dialogues are well known for including Socratic autobiographies. Given that Schultz is explicit that her aim is not to determine the historical reliability of Socrates' narratives, she does not consider any tensions between Socrates' two intellectual autobiographies in these dialogues. Instead, she analyzes them along with other instances of self-disclosure in the dialogues in order to show that Socrates deploys them to exhort his fellow citizens to philosophy and to nurture his intimate community with the hopes of extending philosophical reflection into the future. In chapter 6 Schultz offers a helpful summary of the book and shares examples of contemporary practitioners of Socratic narrative and public philosophy. In doing so, Schultz herself exemplifies Socratic self-disclosure by sharing her own intellectual experiences, which she continues in the postscript to the book. With each chapter, I became more convinced of Schultz's central interpretative claim that Plato portrays Socrates as a philosopher who shares his experiences and emotions openly. At times, though, an interpretive question occurred to me: Should we always take Socrates...

Pengembangan bahan ajar menulis naskah drama bermuatan kearifan lokal dan pendidikan karakter

Students have difficulty in writing drama scripts. Teachers Indonesian are required to be able to develop teaching materials as a source of material information that is important for students to be skilled in writing drama scripts. Teaching materials developed by teachers should be charged with local wisdom and character education. This research aims to realize the learning materials of writing drama scripts loaded with local wisdom and character education. This research uses Research and Development (R&amp;D) approach from Borg and Gall which is tailored to the needs of this research. This research and development resulted in teaching material writing drama scripts loaded with local wisdom and character education. As a learning material to write a drama script, the material contains six main parts: writing a drama script, intrinsic elements of drama, character education values, examples of local wisdom, examples of drama scripts that are charged with local wisdom and character education, and evaluations to measure students' competence. The procedure is divided into seven main stages, namely theoretical and practical analysis, analysis of the needs of students and teachers, prototyping, material expert tests, prototype revisions, product use tests, and product development of thinking-pair-sharing techniques writing drama scripts

HYBRID THEATRE: PERFORMING TECHNIQUES IN THE EFFORTS TO PRESERVE THE ART OF THEATRE PERFORMANCE POST COVID19

The pandemic of COVID19 and the Movement Control Order (MCO) has opened up the minds of local theatre players to be more creative in applying the suitable medium in showcasing their creative performances. Thus, emerged various forms of virtual theatre known as `online theatre’. No one ever imagined that theatre performances would be performed online but now, it is a practical approach in ensuring the sustainability of the theatre art itself. However, various questions arose about online theatre in Malaysia, such as confusion with the understanding of the terms, forms, and concepts of the performance. This study and writing are based on the online theatre performance ~Sel Akhir’ by the Seni Ceritera Association and King Lear by the KL Shakespeare Players (KLSP). Based on Aristotle's Dramatic Elements approach, the authors used observation and comparison methods to explain the approach used by these two presentations and propose to our Malaysian theatre players a method of online performance that suits the current capabilities and requirements, known as hybrid theatre.

Nora’s Re-birth as a Human: A Critical Analysis of Ibsen’s A Doll’s House

Abstract&#x0D; This paper scrutinizes Henrik Ibsen’s A Doll’s House where the female protagonist character is analyzed through investigation of the three elements of human beings: soul, body, and mind. This analysis of the play is processed along with the analysis of the dramatic elements, techniques, and conventions of dramatic criticism. The investigation of the stages of social drama in the female character’s situation as presented in this play is intended to highlight woman’s tragedy in patriarchal society. Ibsen sees women caught in a tragic situation where Nora is found in confrontation with society and its patriarchal concepts. This paper, thus, traces women’s attempts to challenge gender inequality as presented through the female protagonist’s acts. The female character actions in incidents of stereotyping, objectification, and oppression which reflect gender politics, sexuality, and power relations, should reveal her stand facing gender inequality under patriarchy. Evidence in the play text that demonstrate the female character’s negotiation, rejection, and/or objection to all that deprives her equal rights to those of man as human should reveal to which extent, she manages to challenge gender inequality. By so doing Nora breaks the inferior status imposed on her being a woman.

Intermedia and interculturalism: practitioners’ perspectives on an interactive theatre for young ethnic minority students in Hong Kong

ABSTRACT This paper reports findings from a case study of an interactive theatre for young ethnic minority pupils in Hong Kong. Drawing upon Higgins’s (1966) notion of ‘intermedia’ as a configurational principle, this creative project entails collaboratively-designed performances with elements of drama, music, dance, puppetry, and language learning principles. This study explores – from practitioners’ perspectives – the pedagogical affordances of this intermedia-inspired collaborative project in early childhood settings targeting culturally diverse groups in Hong Kong. Qualitative findings emerging out of autoethnographic reflections of five practitioners, complemented with nonparticipant observation, have pointed to the emergence of an interculturalist gestalt in dialogue with an intermedial configuration. We argue that this opens up spaces for artistic participation and learning beyond language(s) in the early years through tapping into the pedagogical potentials of this creative project. Qualitative data also suggest that practitioners’ abilities to exercise flexibility and openness in response to an intermedial configuration have a mediating effect. Concluding remarks are made of the under-utilisation of intermedia as a boundary-destabilising and configurational principle in arts-based endeavours, and as a pedagogical principle in which multimodal and multisensory learning is embraced as the way forward, with insights drawn from cultural democracy and culturally responsive pedagogy.