Dramatic Genre Research Articles

Poetic intergenericity in tales of the oral tradition

In this study sought to present a theoretical literary analysis based on the epistemological reflections of Aristotle (1992), Rosenfeld (1994) and Staiger (1977), on the intertwining and dialogue between the epic/narrative, lyrical and dramatic genres - the poetic intergenericity, present in tales of oral tradition, from the literary collection of traditional storytellers from the city of Tapiramutá, Chapada Diamantina, Bahia. In the analyzes carried out, the presence of the interpenetration between the lyrical, epic/narrative and dramatic genres was evidenced, thus pointing to the fact that the genres literary works appear mixed, mixed, like threads that intertwine between the parts. As well, it was noticed that through this intertwined dialogue between the poetic genres, traits of culture, history, geographic, social and political contexts are revealed, both of the enunciative subjects (traditional accountants) and of their collectivity.

공연무역 가치사슬 생태계 모델에 관한 연구

The purpose of this paper is to present a new value chain ecosystem model of performing arts services trade (hereafter as PAST). The recent changes in the global trade environment around Korean trade represent both a crisis and an opportunity. Specially recent increase in content exports of games, animations, music, and drama genres has brought about a new renaissance of the Korean Wave. It means the importance of researches and implementation on next-generation growth engines that will continuously realize the growth of K-contents is getting bigger. As seen in the case of the UK, performing arts content creates various intellectual property rights and high economic effects, which means it’s necessary for Korea to find out how to expand exports in performing arts content. This paper defined the features and areas of performing arts content as not a good but a service, based on GATS and EBOPS classifications. Also it reviewed preceding studies on performing arts industry, theories on value chains and service networks, Holden’s cultural ecosystem models, and UK’s case. Finally the paper concluded that a new PAST model has structure of double-layered ecosystem and five-stage of value chains.

박의섭의 방송동극에 전개된 전래동화의 수용 의미

Park U-seop pioneered the radio drama genre and continued his fairy tale work for five years from 1937 to 1941. Especially this paper analyzes to find the meaning of accepting traditional fairy tale with Park’s passionate two radio dramas, “Loyal Tiger” and “Sneeze of a Fox” in 1938. In the two works, Park U-seop used his unique storytelling and expression techniques, and aimed for an allegorical method to effectively capture moral and ethical lessons. To find out the method, this paper focuses on acceptance of moral and didactic messages of fables. The two fairy tale dramas contain various areas of life in human history and the psychological prototype of the people. In addition, it reveals that the virtues of lessons based on reconciliation, forgiveness, and faith were implied in the works.

THEMATIC APPROACH TO AZIM SUYUN’S POEMS

Azim Suyun was born on February 22, 1948 in the village of Nakurt, in the province of Samarkand, Uzbekistan. He is known for his works in the genres of story, drama, epic, poetry and translation in Uzbek Literature. In addition to his; he has many works written about poetry and poet. The poet is one of the important figures of Uzbek Literature in the Soviet and Independence Period. Azim Suyun did not remain indifferent to the problems of the age in which he lived, and dealt with the existing troubles and the events he personally witnessed in his works. At the same time, the poet drew attention to the unique beauties of the geography he lived in after mentioning the historical importance of the ancient cities of Uzbekistan. Between 1978 and 2020, Azim Suyun came to the forefront with his works written on many subjects such as love, nature, family, homeland, nation, independence, language, religion, goodness, philosophy, historical and literary figures, poets and poetry, criticism and so on. In the study, after the subjects that the poet mainly deals with in his poems are mentioned, his works are examined thematically. It covered classified under eight headings as “Poems About Homeland and Nation”, “Literary Personalities”, “Poems About Poet”, “Criticism Poems”, “Poems on Religious Subjects”, “Poems About Nature”, “Poems About Seasons” and “Love Poems”. In this study, it is aimed to introduce his works by emphasizing the aesthetic power and poetic features of the poet’s poems.

The role of TV series in the life of young people

This scientific article examines the influence of TV series on the youth audience. The main objective is to evaluate the subjective experience and effects of TV series on young people. The study utilizes both quantitative and qualitative methods, including secondary analysis of sociological survey data from a representative all-Russian sample (VTsIOM survey, N = 1,600 people, DataTile research, N = 1,085 people) and a series of six focus groups with informants aged 16 to 35. The research reveals viewer preferences and the frequency of TV series consumption among the youth audience. It was found that young people predominantly watch foreign TV series in the sitcom/comedy, detective, and drama genres, which significantly impacts their leisure practices, alters their attitudes towards sports (with an interest in chess and hockey), influences investment activities, aids in language learning, and enhances certain professional skills. The focus groups indicate that informants are aware of the romanticization of bad habits portrayed in TV series, but they do not perceive the depiction of cruelty as dangerous. However, they negatively evaluate long-term "immersion in the illusory world" of TV series as a potential psychological dependence. Based on the subjective attitudes towards TV series, the authors acknowledge both the positive and negative impacts on the lifestyle, views, and value orientations of young people.

CRITICAL REVIEW OF LITERARINESS IN CULTURAL CREATIVE DANCES PERFORMED IN THE KENYA SCHOOLS AND COLLEGES DRAMA FESTIVALS

The Kenya Schools and Colleges Drama Festival is a series of student-theatre competitions in, held from January to April annually. Students across all learning institutions take part in these festivals. The competitive nature of these festivals provides an opportunity for participants to be creative in their submissions. The festivals feature many genres, including cultural creative dances. Traditional dances, as a sub-genre of orature, play are integral to the appreciation and maintenance of traditional cultures. They tell creative or literary stories orally and in a modern context. Therefore, this article seeks to articulate how cultural creative dances performed during drama festivals tell creative or literary stories orally. The study sought to describe the literary stories told and themes addressed through the dances, analyse the dramatic and oral literary features of these stories and the literary features included during performance and adjudication of cultural creative dances. The study used descriptive and analytical methods to underline important practical, philosophical, aesthetic, and psychological considerations in determining the artistic quality of cultural dances in Kenya’s Drama Festivals. It thus relied on qualitative data obtained through textual analysis, interviews, focus group discussions and participant observation. The study employed the performance theory and theatre semiotics to examine the unique literary quality of these dances. The study found that cultural creative dances tell stories unique to the cultures from which they are composed. They also address themes of human or universal relevance out of those cultures. Moreover, cultural creative dances exhibit all features of literariness in terms of their composition. Some of these features make it to the stage performance and adjudication process. However, adjudication examines other technical aspects of production based on the themes prescribed for the festival by the government. This research underlines the place of cultural creative dance as dramatic genre and oral literary performance.

Revising the Eighteenth-Century Novel

Revising the Eighteenth-Century Novel

DECONSTRUCTION OF NATIONAL NARRATIVES: TRAGICOMEDY AND TRAGIFARCE (DRAMATURGY BY L. TYMOSHENKO, LENA LYAGUSHONKOVA, V. CHENSKY)

The article examines tragicomedy and tragifarce as dramatic genres actualized in modern drama, and characterizes their specifics. The concept of liminality is an effective strategy in literary studies, which made it possible to study the peculiarities of modern Ukrainian drama in the context of the implementation of the genre matrix of the ritual of transition in the genres of tragicomedy and tragifarce. Modern Ukrainian playwrights transform the genre varieties of «domestic comedy», resort to tragicomedy, which is able to demonstrate the inseparable unity of the tragic and the comic as a typical liminal state, and choose the tragic farce, which through comic pathos highlights the problematic points of the social structure, which does not meet the current requirements and destroys the individual . Tragicomedy and tragicfarce genres are studied on the example of the plays of modern Ukrainian playwrights L. Tymoshenko, V. Chensky, Lena Lyagushonkova, and others. The combination of the comic and the tragic is an integral component of the works of all modern playwrights: the «comic» becomes dominant, the basis from which the «tragic» grows, which is transferred to the level of the reader’s consciousness, forming receptive liminality as a state of searches, variability of interpretations, perception of works of complex form. Playwrights embody the characters of the works in an atmosphere of joy, laughter, grotesque comedy, while the tragic pathos is formed by the images of the plays, which create an atmosphere of impending disaster that the characters do not feel. The authors turn traditional images and plots into kitsch, make them a means of critical camp: they deconstruct them in the genre matrix of rituals of transition. The contrast between the comic and the tragic is a feature of the playwrights’ artistic style, which forms the basis of the tragicomic: the authors implement a comic plot that can end in a tragic ending, or turn the tragic into an optimistic one.

The Use of Digital Effects on Storytelling in Turkish Cinema

Digitalization and the use of digital effects have an important place in the world and also in our country in many different disciplines. The transition from analog system to digital has affected all mass media. The use of digital technology in cinema also occupies an important place. American cinema was a pioneer when many movies switched from analogue to digital and started to use digital visual effects. The use of visual effects in Turkish Cinema, especially in action and drama genres, is remarkable. Although the words special effects, visual effects and CGI are used interchangeably, they have different characteristics. In these study, whether the use of digital visual effects supports storytelling or not was investigated by discourse analysis method. The most watched movies in Turkish Cinema between 2004-2017 were analyzed. With this method, it was also tried to determine how often popular movies use effects and which types of effects they use more. While effects supported the story in some movies, they caused negative impact on others. One of the important reasons for this reaction is that the effect is not included in the movie in a natural way. Possible economic difficulties in accessing technology can also lead to falling behind.

Pesan Dakwah dalam Film Rentang Kisah (Analisis Semiotika Roland Barthes)

Da'wah is an exertion to construct the conditions that can help conversion the chaging of thoughts, beliefs, attitudes, and Islamic behaviors. Basicly da'wah is approved in mosques, as well as in public places by gathering societies as is mad'u, but similarly in modern era like today, da'wah has used complexity technologyy, one of them is film. The series film with a biographical drama genre, but it covers the meaning of da'wah messages, such as messages of aqidah, sharia and morals. This paper tries to expose the message of da'wah by using the semiotic approach of Roland Barthes.

"Toda la tragedia y la comedia de la vida": sobre la mezcla de afectos y géneros en el Filebo de Platón

In Philebus 50b ff., for the first time, the pleasure that human beings take in the tragic is explicitly noted. Plato refers there to "all the tragedy and comedy of life", an expression that is at the heart of my work. In what follows I will first make some philological observations on the passage in context, then I outline Plato's conception of the tragic, illustrating it with the Phaedo. I will analyse the references to tragedy and comedy in Symposium and Laws VII. And finally I will return to the Philebus to show that in Plato's poetics "mixture" applies not only to the affections but also to the two dramatic genres, whose mixture occurs both on stage and in life.

Burkert, Mattie. Speculative Enterprise: Public Theaters and Financial Markets in London: 1688–1763

Burkert, Mattie. <i>Speculative Enterprise: Public Theaters and Financial Markets in London: 1688–1763</i>

Using Cinematic Virtual Reality to Get Acquainted with the Metaverse

Abstract This paper discusses the opportunities for using cinematic virtual reality (CVR) to enhance our understanding of the imagined metaverse – the recently emerged new digital age phenomenon. The paper approaches the concept of the metaverse from an interaction point of view, which is one of the more common characteristics used to conceptualise the metaverse, approaching it as a phenomenon involving the convergence of real and virtual worlds, but also humans and machines. The article investigates the possibilities of using the relatively unexplored phenomenon of CVR, which facilitates the desired interaction while requiring the least prior knowledge and skills from the user, and thus might ease our acquaintance with the imagined metaverse. The difference between virtual reality (VR) and CVR lies in the generation of the VR world: traditional VR is typically generated through 3D graphics processing and audio triggers in real time, whereas CVR exclusively uses pre-rendered pictures and sound elements. Thus, the main difference between the two lies in the textual content and intended way of consuming it without dissimilarity in technology. With reference to three drama genre cases, the aim of this paper is to explore one of the crucial components of CVR—namely, through the established convention of the viewer perspective in traditional cinema (first-person, second-person and third-person perspective).

Specific Character of Ukrainian-Russian Contacts in the Musical Culture of the 17th – 18th Centuries: A Modern View

The relevant problem of the significance of the Ukrainian-Russian musical dialogue in the 17th –18th centuries for the future development of Ukrainian and Russian musical cultures is considered in the article. Ukrainian-Russian contacts have taken place in the field of professional music, dominated with religious Christian themes at that time. Significant achievements of Ukrainian musical art of the late 16th - the first half of the 18th century are noted, where Ukrainian Orthodox traditions are combined with the adapted achievements of Polish and Western European art: the reformation of musical notation and the appearance of the five-line Kyiv notation, used to record church singing, the emergence and development of polyphonic church works of the baroque style, the genre of cant and school drama, significant achievements in choral church performance. The backwardness of the musical culture of Muscovy in the period of the 16th–17th centuries from the European world and imitating Ukrainian achievements in church singing, choral performance, canto culture and school theater are emphasized. It is accentuated that the composers, regents, choristers, musical works have been necessary for the implementation of such a restructuring in Moscow musical culture. The voluntary and forced resettlement of Ukrainian musical forces to Russia for almost two centuries is considered in the submitted work. They have taken musical works with them and remained there. It has caused a situation when many Ukrainian musicians are turned in Moscow and St. Petersburg. So, there are reasons to believe that they have been creating Ukrainian culture outside Ukraine in Muscovy (Russia), relying on Ukrainian traditions. There are, in particular, Ukrainian composers M. Berezovskyi and D. Bortnianskyi, who have initiated and developed the Ukrainian classical style of sacred music in Russia among them. At the same time the constant and systematic transfer of Ukrainian musical forces, as it is noted already, for almost two centuries has been bleeding Ukrainian musical culture and affected negatively its development in the 19th century.

«Scenarity» as the Basis for the Formation of the Drama Genre in K. Tsepkolenko First Piano Concerto

The article reveals the peculiarities of creating the dramatic form of the Concerto-Drama for Piano and Orchestra. The paper substantiates the principles of dramatization of the composer’s piano concerto from the position of her creative method — her own genre concept, namely “scenario development” of musical material and general stylistic foundations of her creative work. The internal dramatic effect of the concerto is achieved thanks to the through development of musical images in the concerto-drama thanks to thematic bridges that unite all three parts into a single performance, in which the relief and convex script-fabula layers of the work are literally perceptible, revealing to the listener a world of emotions and vivid feelings. The article shows that the composer, developing the concerto genre in a dramatic turn, uses playful methods of form-making to enhance the dramatization of his works. In the orchestra part she widely uses the competitiveness of the individual instruments and orchestra groups, in the climactic moments the texture is saturated by poly-linear multi-layered semantic structures. The composer makes innovative use of piano cadenzas that appear on the crest of the hero’s emotions, appearing in various structural sections of the concerto and serving as unifying material that binds together the dramatic plot of the concerto. The individual project of the work based on the script featured development of the drama is decisive in the composer’s concerto-symphonic works. Here the composer acts as another function that emerged in connection with the application of the script development method, namely that of the director of the musical process, who shapes the musical material taking into account its texture, temporal and spatial forms.

«Новая драма»: pro et contra

At the end of the 20th – the beginning of the 21st century there were serious changes in the poetics of drama, defining the strategy of artistic forms and features of artistic consciousness. This gives the right to single out the history of the “new drama” in a separate period of the literary and theatrical process. A new book by the Belarusian researcher S.Ya. Goncharova-Grabovskaya “Modern Russian Dramaturgy (late 20th – early 21st century)” is devoted to generalization and comprehension of this period, which is considered and announced in the presented review. The book examines the main trends in the development of the Russian drama at the turn of the 20-21st centuries: the history of the emergence of the “new drama” movement, aspects of poetics (hero, conflict, chronotope, language), genre-style vector (social drama, documentary drama, monodrama, remake plays, drama of the absurd) – all that defines the specific features of the modern dramaturgical process. The focus is on the plays of famous playwrights, which have been staged in theaters in Russia and Belarus, have received positive reviews in criticism. The peculiarity of the reviewed book is that it analyzes modern Belarusian drama, traces its connection with the Russian. The book includes overview chapters reflecting the genre and style parameters of drama, a list of plays, information about playwrights, control questions and assignments. The scientific and methodological publication under review is expected to be in high demand not only in the philological environment, but also among theater critics and theater historians.

Reception of the values of the Aeschylus drama and mnemonic imprints by ancient tragedy spectators.

Background: Ancient Greek tragedy remains today a special dramatic genre that expresses the concept of the classic through time, perhaps better than any other form of art and culture, representing, as a theatrical expression, the vision of the conception and expression of values of a particular era. In this context, the purpose of the present research is to study the humanitarian values of European culture, as they are expressed in ancient Greek drama, and to highlight the way in which these values are projected through modern drama and are impressed on the spectators. Methods: To achieve this goal, 105 spectators watched the tragedy of Aeschylus 'Seven against Thebes' directed by Cesaris Grauzinis and answered, both immediately after watching the performance and six months later, a questionnaire, in order to record their opinions about the theatre performance they had attended. Results: According to the findings of the comparative analyses, it emerged that the messages and values governing the work remain unchanged for its viewers over time. The memory is based on original audio-visual elements and directorial findings, confirming that it preserves the messages of the symbolism of the performance as well as the channels through which they were conveyed to the audience. Conclusions: The correspondences between the past and the present, as well as the contrasts on stage, contributed to the reproduction of the fundamental moral values that the dramatic work brought, highlighting the work and messages of Aeschylus.

Pendekatan Haptic Visuality pada Konstruksi Visual Film Burung Dara

Eros love is one of love that is identic with the sensation of arousal and sexual desire in the pattern of teenage romance. The content of love that is attached to the emotions of actors and sensation of desire makes the author take on the major cinematographer in film Burung Dara. Burung Dara tells the story of a couple teenage who having relationship beyond the bounds of the norm. The author uses a haptic visuality approach combined with emotional rhythm editing techniques to amplify emotions and give a touch-like sensation to the visuals of teenage love through a 27-minute film with a drama genre.

INTONATION STRUCTURE OF DONIZETT’S GAETANO OPERA (based on the example «Anne Bolena»)

The article is devoted to the operatic work of Gaetano Donizetti, the intonational features of which are considered on the example of one of the composer’s earliest operas «Anna Bolenа». It is an example not only of the author’s first success in this genre, but also of a successful combination of an expressive melody with dramatic content, as well as the author’s individual melodic writing of G. Donizetta in the 1830s along with «Maria Stewart», «Lucrezia Borgia», «Lucia di Lammermoor». Іn article methods are applied historiographic, genre-style methods and the method of intonational analysis. It is established that the specificity of the composer’s melodic style is the strengthening of the role of speech intonation, its growing into the thematics of both cantilena and virtuoso constructions, as well as the frequent use of recitative and ariose cues, due to which a natural transition from one emotion to another is created, which is extremely important. for the genre of lyrical drama.

Modeling narrative features in TV series: coding and clustering analysis

TV series have gained both economic and cultural relevance. Their development over time can hardly be traced back to the simple programmatic action of creative intentionality. Instead, TV series might be studied as narrative ecosystems with emergent trends and patterns. This paper aims to boost quantitative research in the field of media studies, first considering a comparative and data-driven study of the narrative features in the US medical TV series, one of the most popular and longest-running genres on global television. Based on a corpus of more than 400 h of video, we investigate the storytelling evolution of eight audiovisual serial products by identifying three main narrative features (i.e., isotopies). The implemented schematization allows to grasp the basic components of the social interactions showing the strength of the medical genre and its ability to rebuild, in its microcosm, the essential traits of the human macrocosm where random everyday life elements (seen in the medical cases plot) mix and overlap with working and social relationships (professional plot) and personal relationships (sentimental plot). This study relies on data-driven research that combines content analysis and clustering analysis. It significantly differs from traditional studies regarding the narrative features of medical dramas and broadly the field of television studies. We proved that the three isotopies are good descriptors for the medical drama genre and identified four narrative profiles which emphasize the strong stability of these serial products. Contrary to what is often taken for granted in many interpretative studies, creative decisions rarely significantly change the general narrative aspects of the wider series.