Dramatic Elements Research Articles

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
 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.

Osnove istorijskog razvoja glume u pozorištu od antičke Grčke i Rima do moderne i avangarde

The research subject of this paper is oriented on the development of acting through the focus of the actor as an artist and acting itself as an art. Answers are given in the paper, who were all the actors and what acting tools they used. Furthermore, in which period dramatic theater prevailed, theater based on elements of drama, and when was it created epic theater, and do we have elements of epic theater on the stage even before the appearance of dramatic theater. Drama theater is based on imitation, on a story that has its own introduction, plot, culmination and denouement. In the drama theater, there are characters on stage who are always in some kind of conflict. In epic theatre, the actor narrates, he shows the events that took place, he shows them by telling us about them. We can conclude that, in most cases, every performance is interwoven with both epic and dramatic elements, and that it is very difficult to talk about only one form of theater within one performance.

Młody człowiek nie pachnie współczesnością. O portretowaniu postaci w filmie Jana Komasy na podstawie obrazów „Boże Ciało”, „Miasto 44” i „Sala samobójców”

The purpose of this article is to show the genre continuity of portraiture in the next medium and to identify its new features and elements based on three pictures directed by Jan Komasa: Corpus Christi, Warsaw 44, and Suicide Room. The research used content analysis, comparative analysis, and analysis of the structure of the film work. The semantic trend indicating the importance of portrayal in the film was also used. The above analysis showed that film portraiture based on elements of film language still has much in common with classical painting or photographic portraiture. It characterizes the protagonist, his likeness, and description, and at the same time, the action of the film is a dramatic element. The way it is used reinforces the aesthetic and genre style of the film story, and portraits are not only a registration of the character's image but have artistic functions.

Sequenza IV в контексте фортепианного творчества Лучано Берио

The Italian composer Luciano Berio, a classic of modern music, is distinguished by a rare variety of creative solutions and a wide range of interests. Sequenza I, written by Berio in 1958, marked the beginning of a series of 14 pieces. They are dedicated to contemporary interpretation of possibilities of various instruments and voice in the genre of a solo concert piece. The Sequenzas are an example of virtuosity and an encyclopedia of the development of Berio’s aesthetics in the period from 1958 to 2002. In most of the pieces, Berio uses a combination of experimental instrumental techniques and dramatic elements. He calls his Sequenzas “extremely sophisticated gestural exercises”. Sequenza IV (1965) is one of the pieces with a more traditional approach. Berio avoids an experimental manner of playing and sound touche and continues to develop his own concept of a polyphonic composition. The article provides a comprehensive analysis of Sequenza IV, briefly focuses on the other Sequenzas and explores some aspects of Berio’s creativity.

Apollonios de Rhodes, Euripide et la vie antérieure de Médée

[Apollonius of Rhodes, Euripides and the Previous Life of Medea] In his Medea, Euripides says nothing about Medea’s love for Jason and uses her magic, without giving many details, as a dramatic element of the plot of his tragedy. Apollonius of Rhodes, on the contrary, represents Medea in his Argonautica as a young girl in love and as a magician in full command of her science and technique, as he tells the story of her previous life in Colchis which Euripides had decided to ignore. Thus Apollonius deploys the full richness of the character of Medea whose image is more concentrated in Euripides. He completes the tragedy of Euripides as he writes its prequel. And he brightly displays his creative power and the originality of his poetry.

The Waste Land: Potential Drama, Persistent Poetry

"Late in his career, when he was fully devoted to dramatic writing, T.S. Eliot made the provocative statement that his early poetry was “striving ... toward the condition of drama.” This paper examines dramatic elements in The Waste Land (1922): scenes, voices/characters, and dialogue. In analysing the poem as a proto-dramatic text, it also considers Eliot’s future career as a dramatist (mid-1930s-late 1950s), as well as his contemporary essays on drama, and the unfinished play Sweeney Agonistes (1926-1927). Finally, this study explores the pervading presence of “Waste Land” imagery, moods, and diction in Eliot’s later plays. The dramatic quality of The Waste Land prefigures the plays, while these –as modern verse drama– hark back to the poem."

Rewriting Shakespeare: Discussing Postmodern Drama Elements in Two Feature Film Adaptations of William Shakespeare’s play “The Tempest”

This article is going to discuss and compare two film adaptations of William Shakespeare’s classical drama The Tempest (1611). Julie Taymor’s The Tempest (2010) and Derek Jarman’s The Tempest (1979) are two peculiar representations specifically rewriting gender, race and power issues original text has dealt with. Reason behind the selection of The Tempest (1611) in this reseaarch is its specificity in the Western Drama in terms of having fragments from mythology, ancient Greek Drama, Latin Drama, Romance, Neoclassicism and Symbolism as well as discussing modern and universal issues like gender, race and power. The time Shakespeare wrote this play coincided with the beginning of English colonialism. In general, it rallies with the classical approaches of tragedy and comedy through combining their elements. The Tempest may be regarded as the initiation of the post-colonial drama. Adaptation of The Tempest into cinema and theatre is a long journey. In this study, Derek Jarman’s and Julie Taymor’s film adaptations are going to be discussed and compared regarding their postmodern drama elements. Both films are selected for analysis because of their focus on sexual identities. In order to contribute to previous studies regarding Shakespeare’s play The Tempest as a postmodern play because it contains themes that he puts at the center of postmodernism, as a result of the findings obtained at the end of the study, it is revealed that Tempest is a text that can be rewritten in accordance with the socio-cultural position and stance in the historical context. It can address audience of today with its themes and narrative and can be adapted to a postmodern film with its timelessness. The other conclusion of this research is that while Shakespeare’s play The Tempest was rewritten with a queer gaze in Derek Jarman’s adaptation in 1979, it was seen that the text was rewritten with a feminist discourse and narrative in Julie Taymor’s adaptation.

MEMBERI KESAKSIAN TENTANG KEBENARAN DI TENGAH BUDAYA FEAR OF MISSING OUT: REFLEKSI TEOLOGIS YOH 18:28-40

This paper is a theological reflection of John 18:28-40. This theological reflection is used as a basic principle of living in the midst of the digital era, especially to fight the culture of fear of missing out (FOMO). This passage is part of the story of the passion of Jesus Christ. In the Gospel of John, the story of Jesus before Pilate is dominated by Jesus’ dialogue with Pilate. In this dialogue, Jesus is shown as the King who proclaims the truth but Pilate rejects this testimony of Jesus. With a strong element of drama in the Gospel of John, the readers of the Gospel will be invited to believe that truth is God’s revelation that requires human participatory communication. The theological reflection that I want to emphasize is that dialogue with Jesus leads people to the depths to understand the mystery of God. But people who are caught up in FOMO have a shallow view of life. People who experience FOMO actually experience isolation and loneliness and then look for shortcuts. Deep dialogue with Jesus is necessary to gain spiritual strength to face isolation and loneliness in life.

Epic Synthesis in Late Work of I. S. Turgenev

The epic synthesis in the works of I. S. Turgenev on the example of his last novel “Nov” is examined in the article. It is noted that the writer had high hopes for this work, since the novel was supposed to show Turgenev’s true position in relation to the Russian people and the future of Russia. It is pointed out that in “Nov” there is no extensively revealed theme of peasant life, but it does not recede into the background: Turgenev represents a collective image of the people, evaluates events from the people’s point of view. It is emphasized that the writer’s attention to the reaction of the public, conditioned by the desire not only to present the most complete picture of life in Russia, but also to show the reader timeless samples of meaningful life, rising above various “questions”, allows us to talk about the epic breadth of the novel. The author of the article proves that the artistic world of “Nov” can be read “layer by layer”, reaching the key meanings: behind the external clashes of political forces is the problem of the relationship between people, their willingness to help each other. Parallels are drawn between the three essays added to the book “Notes of a Hunter” and individual episodes of the novel “Nov”, their ideological and artistic connection is proved. It is concluded that the work of the late Turgenev cannot be analyzed without considering the opposition between the dramatic elements of destruction and the creative force, which is based on the Orthodox world outlook.

Al-Munāfarah's skills and it impact on the development of Arabic rhetorical thought

This study is concerned with standing on the bragging about our Arab heritage, an attempt to elucidate the impact of this art on the development of Arab rhetorical thought, as the brags can be an early start for the pilgrims' theory that came as the result of the effects of modern stylistic studies. The study tries to root and clarify this through heritage books, and this is not what makes us stand as the defender of heritage, but rather it is an attempt to link the old with the modern, as ancient Arab literature was not separate from life, but rather discussed life issues in a literary manner. Also, in this type of art, we notice the availability of dramatic elements that can be indicative of theatrical art for Arabs, so bragging is not just a speech, but rather a recitation, movement and interaction with the audience. تهتم هذه الدراسة بالوقوف على المفاخرة في تراثنا العربي، محاولة استجلاء أثر هذا الفن في تطور التفكير البلاغي العربي، فالمفاخرات يمكن أن تكون بداية مبكرة لنظرية الحجاج التي جاءت أثرا من آثار الدراسات الأسلوبية الحديثة. والدراسة تحاول تأصيل ذلك وتوضيحه من خلال كتب التراث، وليس في ذلك ما يجعلنا نقف موقف المدافع عن التراث، ولكن هي محاولة للربط بين القديم والحديث، فالأدب العربي القديم لم يكن منفصلا عن الحياة، بل كان يناقش قضايا الحياة بأسلوب أدبي. كما أننا في هذا النوع من الفن نلحظ توافر العناصر الدرامية التي يمكن أن تكون مؤشرا للفن المسرحي عند العرب، فليست المفاخرة مجرد خطاب، بل هي إلقاء وحركة وتفاعل مع الجمهور.

Роль пианиста как участника камерно-ансамблевого исполнительства в Сонате для виолончели и фортепиано g-moll op. 19 С. В. Рахманинова

The research objectives are as follows: to identify the pianist’s role and to determine their performative and ensemble tasks in S. V. Rachmaninoff’s Sonata in G Minor for Cello and Piano. The composition dramaturgy is dynamic: from opposition of lyrical and dramatic elements in the first part towards harmonious synthesis of these elements in the final part. The pianist’s rehearsal training includes the work on sound, intonation, accents. The sonata concert nature allows them to achieve a vibrant sound, to separate or combine instrumental parts. Scientific originality of the study lies in the fact that the author for the first time analyzes the pianist’s performance of S. V. Rachmaninoff’s Sonata for Cello and Piano. As a result, it is shown that the piano is a full-fledged ensemble member, and the sonata figurative sphere determines the specificity of the piano performing.

Entertainment outreach projects without losing scientific content: A Neolithic puppet show by senior citizens and Roma women

In this work, we present the genesis, development, and results of a set of inclusive outreach activities developed through a puppet theatre play about the Neolithic. We present our methodology and techniques for outreach activities, showing the advantages of collaborative work and bottom-up approaches. The text also explains how the initiative was born and how the contacts for its realization consolidated. All the activities were carried out with the utmost care for the scientific content since it is essential that the public comes to understand all the archaeological information and differentiates it from the entertaining and dramatic elements.

Artistic features of the comedy “The Handsome Man” by Alexander Ostrovsky

The article analyses the plot and genre features of the comedy “The Handsome Man” by Alexander Ostrovsky. In particular, such features of comedy as a comic contradiction, a prosperous denouement, typification of heroes and such qualities of vaudeville as the rapid development of action, the motif of a joke, as well as of a deception, are highlighted. The special vaudeville character of the intrigue is emphasised, it is also occupied with dynamism – the heroes change masks, deceive, pretend. It is noted that the psychological complexity of the characters, the main conflict, characterised by depth and sharpness, bring the play closer to the genre of drama. The study uses materials from letters of drama, memories of it, as well as critical reviews of the play “The Handsome Man” – the presence of harsh, often contradictory assessments testifies to the topicality of the comedy. and values. Particular attention is paid to the image of the protagonist, Apollon Okoyomov, who belongs to the “handsome” type, certainly in many respects corresponding to the late-19th-century environment and era. It is concluded that in the play “The Handsome Man” by Alexander Ostrovsky organically combined comic and dramatic elements: this gives her brightness, dynamism, artistic persuasiveness.

PENINGKATAN KEMAMPUAN MENGIDENTIFIKASI UNSUR INTRINSIK DRAMA MELALUI MEDIA FILM PENDEK DENGAN METODE PJJ

AbstractThe purpose of this study was to describe the planning, implementation, and evaluation of learning to identify the intrinsic elements of drama through the PJJ method in class XI MIPA 2 SMAN 7 Pontianak by taking actions using short film media. This study uses a qualitative descriptive method and the form of CAR research refers to the Arikunto and Sugiyono model. The results showed that the first cycle of learning planning reached 78 with a good predicate and increased in the second cycle to 88 with a very good predicate. The teacher's performance in the implementation of the first cycle of learning obtained a score of 79 with a good predicate then an increase in the second cycle with a value of 91 with a very good predicate. The results of the evaluation of the first cycle, the average grade of 80.00 with a percentage of completeness of 81.08% in the second cycle there was an increase in the average grade of 93.24 with a percentage of completeness of 91.89%. There was an increase in the ability to identify the intrinsic elements of drama through short films using the PJJ method for students of class XI MIPA 2 SMAN 7 Pontianak.

Metropolitan’s “Winter Dreams” and The Great Gatsby

Abstract While many scholars have pointed to the close relationship of “Winter Dreams,” which Fitzgerald referred to as “A sort of 1st draft of the Gatsby idea,” to The Great Gatsby, most have used the revised 1926 version collected in All the Sad Young Men to support their comparisons of story to novel. The text of “Winter Dreams” in Fitzgerald’s third short story collection, however, is a dramatically revised version of the original story that appeared in the December 1922 issue of Metropolitan Magazine. A reading of the Metropolitan version of “Winter Dreams,” when done with the holograph manuscript of The Great Gatsby, the galley proofs, the revised galley proofs of the novel, and the novel itself in mind, suggests that at many stages of the composition of Gatsby, Fitzgerald had the Metropolitan text of “Winter Dreams” close at hand as he composed Gatsby . He borrowed near-exact phrasings from the story and placed them in the novel, and he appropriated key dramatic elements in the relationship between Dexter Green and Judy Jones in the story and integrated them with subtle changes that can be tracked through the various stages of composition of Gatsby into the relationship between Jay Gatsby and Daisy Fay Buchanan. In the end, the Metropolitan version of “Winter Dreams” reveals itself to be the text that most clearly bears out Fitzgerald’s description of the story as “A sort of 1st draft of the Gatsby idea.” Examining The Great Gatsby after a close reading of the Metropolitan version of “Winter Dreams” shows story and novel to be much more closely related than has previously been considered.

Applying virtual reality to teach the software development process to novice software engineers

Software development is a complicated process that requires experienced human resources to produce successful software products. Although this process needs experience from the individuals, it is hard to provide this experience without encountering real incidents during the software development process. To fill this gap, this study proposes a Virtual Reality Based Software Development Framework (VR-SODEF), which provides an interactive virtual reality experience for individuals learning about the tasks of software development starting from requirement analysis through software testing. In the VR-SODEF, the participant takes on the role of a novice software developer being recruited into a virtual software development organisation who should work alongside five virtual characters, played by artificial intelligence. This exclusive viewpoint draws participants from the 2D separation of the classical experience and virtually into the world of the software development itself. Participants experience the intense dramatic elements created for simulation and confront the challenges of virtual software practitioners in a somewhat uncompromising virtual simulation environment. To examine the efficiency of the VR-SODEF, it was tested on 32 computing students, with results indicating that virtual reality can be an effective educational medium, especially for skills that might traditionally be acquired through experience rather than traditional classroom-based teaching.

Study on the synergy of Theatre Pedagogy and Philosophy for Children: A multi-disciplinary approach

This study explores the reasons why theatre pedagogy as practiced through drama inquiry is highly compatible with philosophical inquiry as practiced in a community of inquiry. After clarifying the way in which theatre and philosophy can be practiced in an educational context, common elements of drama and philosophical inquiry are examined in terms of epistemology and method. As it is suggested that a number of skills and attitudes can be traced in both drama and philosophical inquiry, there follows an elaborated presentation of such points of relevance. The study concludes that a synergy of drama and philosophical inquiry may not only be feasible but also highly productive as there are common aims and principles which provide a basis for applying effectively a model of philosophical inquiry assisted by drama inquiry.

Filozofa portret własny? Kilka uwag na marginesie "Listów" Platona

The aim of my article is the analysis of the selected letters attributed to Plato to answer the question: what conception of Plato as a person can a reader create after reading his correspondence. The philosopher proves himself as a faithful friend, judicious advisor and mentor, who is willing to serve his help to everyone who wants to listen and follow his hints. Although Plato realizes his position and significance in a Greek world, in his Letters there is a note of bitterness and disappointment because of his unfulfilled political ambitions and disappointed hopes. Plato also shows his feelings of regret caused by the loss of his two friends, Socrates and Dion. The form and style of Plato’s letters are as interesting as the content. The author repeatedly writes down his thoughts in so realistic and vivid way as he would have a lively dialogue with his fictional interlocutor. In his Letters Plato uses willingly dramatic elements to depict the referred events in form of the scenes taking place, as it were before the reader’s eyes.