Dramatic Imagination Research Articles

Beyond Words

Beyond Words

도구적 관계 사회에 대한 드라마 <나의 해방일지>의 성찰

This paper focuses on the three Yeom siblings, who are the main characters in My Haebang Ilji, who represent their 20s and 30s, and show the difficulty of establishing personal relationships by being hurt and frustrated in their relationships with others. The failure to establish relationships in My Haebang Ilji reminds us of the problematic reality that young people in Korean society are currently experiencing. Accordingly, this paper explores the causes of impersonal and instrumental relationships reproduced in My Haebang Ilji, analyzes the instrumentalization patterns centered on the characters, and examines the characters' reactions and ways of overcoming them. To this end, we examined how the main characters of My Haebang Iljil are objectified as tools or means, through the way objectification is realized based on the relational theory of Martin Buber, a philosopher of human relations theory. Next, we examined the main characters' reactions to the instrumental relationship society and how each of them changes in their own way.
 The instrumental relationships shown in My Haebang Ilji can be seen to be derived from the negativity of reality, such as individualism, centralism, poor bonds of unstable irregular workers, and performanceism and materialism of the younger generation who have internalized infinite competition under the neoliberal economic system. In this instrumental relational society, the three siblings are hurt and frustrated, but they find their own true way of relating to each other, and show the possibility of liberation from non-subjective objectification. In the drama My Haebang Ilji, it was also shown that true relationship can begin when we face each other not as a thing, but as an I-you, that is, a person and a person. In the course of this study, we were able to see that the ontological concern about 'what is human existence' is ultimately replaced by the relationship between the characters in My Haebang Ilji and leads to an opportunity for dramatic reflection. Above all, the search for the spiritual values that we need to recover and a better place in life through dramatic imagination can be evaluated as providing an opportunity for reflection through television dramas.

A Century of Scholarly Neglect: Shakespeare and Greek Drama

In the late 19th and early 20th centuries, a number of Shakespeare scholars, including Israel Gollancz (1894), H.R.D. Anders (1904), J. Churton Collins (1904), and Gilbert Murray (1914) wrote convincingly of Shakespeare’s debt to classical Greek drama. However, in the century since, most scholars and editors have repeatedly held that Shakespeare was not familiar with Greek drama. In Classical Mythology in Shakespeare (1903), Robert Kilburn Root expressed the opinion on Shakespeare’s ‘lesse Greek’ that presaged this enduring dismissal: “It is at any rate certain that he nowhere alludes to any characters or episodes of Greek drama, that they extended no influence whatsoever on his conception of mythology.” (p. 6) This century-long consensus against Attic dramatic influence was reinforced by A.D. Nutall, who wrote, “that Shakespeare was cut off from Greek poetry and drama is probably a bleak truth that we should accept.” (Nutall, 2004, p.210) Scholars have preferred to maintain that Plutarch or Ovid were Shakespeare’s surrogate literary mediators for the playwright’s adaptations from Greek myth and theatre. Other scholars, however, have questioned these assumptions, including Laurie Maguire, who observed that “invoking Shakespeare’s imagined conversations in the Mermaid tavern is not a methodology likely to convince skeptics that Shakespeare knew Greek drama.” (p. 98) This near-universal rejection of Greek drama as Shakespeare sources have profound philological implications. Indeed, this essay argues that the proscription against recognizing the Attic canon as an influence in Shakespeare has been driven by the belief that Will Shakspere of Stratford had, at most, an education that was Latin-based. The examples show that the real author had to have been exposed to both the Greek language and the Greek dramatists. Evidence for alternative candidates, including Edward de Vere, shows that many were schooled in Greek and that some even collected and supported translations of Greek works. It is my contention that Shakespeare’s dramatic imagination was actually fired by the Greeks, and Shakespeare research has clearly suffered from a century of denial.

Catastrophe of the Catastrophe

Considering correspondences between historical and dramatic imagination, how can we theatre and performance scholars find ways to represent the Capitalocene and offer a vision of a future other than that of decline or incessant growth?

Spectral Characters: Genre and Materiality on the Modern Stage

Spectral Characters: Genre and Materiality on the Modern Stage

The Performative Nature of Dramatic Imagination

Abstract: Creative imagination is a central concept in critical philosophy which establishes the framing faculty of the subject in the middle of the cognitive process. Linking the internal and the external, imagination is also key for dramatic acting methodologies. This mediation has been alternatively interpreted in Western tradition under a reversible perspective, giving priority to either the process that goes from the outside inwards (aesthesis) or just the opposite (poiesis). Going beyond dialectics, this article will connect philosophy with dramatic theory. My proposal explores the virtual drama of identity to emphasise how the transcendental and empirical get linked theatrically.

A Moon for the Misbegotten

A Moon for the Misbegotten opened in Columbus, Ohio, in 1947, under the auspices of the Theatre Guild as part of an abortive national tour meant to culminate on Broadway. The play soon came under assault from critics and spectators who lambasted it as a crude valorization of a libidinous drunkard wallowing in a sexually charged relationship with an unmarried woman even as he mourned the passing of his mother. The Detroit venue canceled its engagement following the police department's denunciation of the play as “obscene” and “a slander of American motherhood” (qtd. in Gelb and Gelb, By Women Possessed: A Life of Eugene O'Neill [2016], 644).Controversy was of course not new for O'Neill, whose work had long been under attack from reviewers, peers, and audiences but whose nuanced investigations of the psychological and emotional complexity of his characters remain the signature attribute of his dramaturgy. The Kansas City Actors Theatre's production generated a bit of controversy from a local reviewer who branded the production “troubled” in the context of misogyny and the ethics of high-canonical scheduling (Liz Cook, The Pitch, Sept. 20, 2018); but the company honored and illuminated O'Neill's complexity, thanks to a strong cast, an excellent design team, and the poignant direction of Mark Robbins. Ashley Pankow and Brian Paulette brought an electric connection to the play's central characters. Their Josie Hogan and Jamie Tyrone were deeply human and commanded the stage with all the subtlety that the play warrants. Pankow struck an uncanny balance between Josie's “brazen and brass” exterior and the vulnerability and sensuality lurking beneath: she weaponizes drink and sexuality while casting a spell over her counterpart. Indeed, Pankow anchored the production with a mix of power and grace that proved to be a fitting complement to Paulette's wonderfully understated Tyrone, whose distraught amalgam of self-loathing, drunken shame, and emotional emptiness was palpably apparent. Nowhere was this complexity more beautifully presented than the self-punishing aria in which Tyrone searches for psychological and emotional resolution after his “Mama's” death: “I know I ought to be heartbroken but I [can't] feel anything …. She's dead. What does she care now if I cry or not, or what do I do?” Paulette weaved his way through Tyrone's pained remembrance with ease and dignity while Pankow cradled him in her arms under an appropriately rendered moonlit set, the work of designers Shane Rowse (lighting) and Gary Mosby (scenic), whose contributions supported the performances through a poetic realism that echoed the dramatic imagination of O'Neill's erstwhile collaborator Robert Edmond Jones. Jon Robertson's haunting soundscape and Emily Stovall's detailed costumes completed KCAT's fully realized production.Robbins's staging was telling in its simplicity, as allowing the actors to command the space through organically expressed action. Victor Raider-Wexler's charming Hogan led a strong supporting cast. The troupe's mastery of Irish dialects and O'Neill's poetic prose was especially impressive. From Pankow's opening moments with Charlie Spillers (Mike Hogan) to Raider-Wexler's lighthearted exchanges with Chris Roady's T. Stedman Harder, the evening was steadily paced to Josie's final—if problematic—offering to her beloved Tyrone: “May you have your wish and die in your sleep soon, Jim, darling. May you rest forever in forgiveness and peace.” A Moon for the Misbegotten's ending suggests redemption for O'Neill's emotionally torn protagonist. Yes, as the aforementioned reviewer charged, Tyrone is a “philanderer” and perhaps “a sad-sack aspiring rapist with Mommy issues.” And I concur in the critic's observation that theatre professionals bear responsibility for selecting and presenting material that reflects the values and identities of our increasingly diverse population. But the winner of four Pulitzers and a Nobel is not so easily dismissed, and balancing contemporary and familiar offerings is surely part of a repertory theatre's charge. Locals can take pride in the fine work being offered by the Kansas City Actors Theatre, of which this production provided a splendid instance.

History and Dramatic Imagination in Ahmed Yerima's Attahiru


 
 
 The thematic concerns of some dramatic creations among postcolonial African playwrights often bear witness to moments of ideological encounter between the colonizer and the colonized. The dramatic space also serves as an avenue where the encounter is revisited, reassessed, or challenged. In this way, Attahiru, a play by Ahmed Yerima introduces a new perspective that insists on the presentation of a version of history that is different from the dominant position of colonial power. On the one hand, colonial accounts portrayed Sultan Attahiru, the Sultan of the Sokoto Caliphate during the late 19th century, as an element of destabilization and a threat to the power and order established by the British colonialists, particularly in the northern protectorate. On the other hand, through narrative technique, Ahmed Yerima illustrates political resistance and the discourses of tradition and modernity, conflicts of religion and culture and the question of identity and power. The historical figure Attahiru is revived as a resistance fighter, a religious figure, a revolutionary leader who is sensitive to power and the demands of his people. However, the major problem arising from a comparison between the historical figure of Attahiru and the dramatic character remains that of the credibility of their representations. The question then is, can narrative technique in a dramatic text give credence to a dramatic character, represented in the synchronic present over the historic one that is constructed by a method aspiring to be objective and rigorous? This paper attempts to answer this question through the textual analysis of the play text against the backdrop of various historical accounts.
 KEYWORDS: AHMED YERIMA, DRAMA, SOKOTO CALIPHATE, HISTORY, MEMORY
 
 

History and Dramatic Imagination in Ahmed Yerima’s Attahiru

The thematic concerns of some dramatic creations among postcolonial African playwrights often bear witness to moments of ideological encounter between the colonizer and the colonized. The dramatic space also serves as an avenue where the encounter is revisited, reassessed, or challenged. In this way, Attahiru, a play by Ahmed Yerima introduces a new perspective that insists on the presentation of a version of history that is different from the dominant position of colonial power. On the one hand, colonial accounts portrayed Sultan Attahiru, the Sultan of the Sokoto Caliphate during the late 19th century, as an element of destabilization and a threat to the power and order established by the British colonialists, particularly in the northern protectorate. On the other hand, through narrative technique, Ahmed Yerima illustrates political resistance and the discourses of tradition and modernity, conflicts of religion and culture and the question of identity and power. The historical figure Attahiru is revived as a resistance fighter, a religious figure, a revolutionary leader who is sensitive to power and the demands of his people. However, the major problem arising from a comparison between the historical figure of Attahiru and the dramatic character remains that of the credibility of their representations. The question then is, can narrative technique in a dramatic text give credence to a dramatic character, represented in the synchronic present over the historic one that is constructed by a method aspiring to be objective and rigorous? This paper attempts to answer this question through the textual analysis of the play text against the backdrop of various historical accounts.

The Variables of formal structures in Interior Design

The formal structures in the design of interior spaces possess characteristics and appearance qualities that are fully functional and aesthetic value . They are fictional reality and sometime overlapping with their material characteristics and the characteristics of the designer's free idea in the formulation of materials which change the visual perception into the physical form to express meaning , direct the using ,and support the aesthetic values. The theoretical framework: came from two subjects. The first included the formal and physical structures of the , and the considerations of their use according to their physical and physical structures in the design of interior spaces, and their role in directing and guidance in the active spaces of the corridor space and the semi-active movement in the study spaces of schools and kindergartens. Next, the design motives were dealt with between the realistic elements and the virtual imaginary elements through the expressive forms and their role in the using functional variable and the aesthetic variable, and their design treatments accordingly. Then, indicators were extracted and adopted in the process of analyzing the intentional sample. The research procedures that are determined by the descriptive method in the analysis process. Research community and the sample: represented in educational schools and kindergartens by two sample, global , and Arabic. Results: Most of the physical of objectivity forms in the form of contradictory with the surrounding circles, and appeared in a dramatic imagination when placed in different circles as formal borrowing collect between the reality and imagination. Also elements of the structural variables formed from the reality and the assumption in the structural determinants walls, floors, ceilings, openings, focusing on the walls and exploitation it in the use of formal elements more than other elements. The interior designer focused more on the use of formal elements in the corridors than in the study spaces. The second sample came in a different and non-rolling style, while strangely in the hallway space. The components of formal variables are directly and effectively affected by the memory of the recipients, especially their ages. The role of the reveal material is not limited to supporting one function, especially the basic qualities, including the indirect and need to be within the limits of the absorption of age groups and their ability to interpret, so meet the laws of constants in the images beloved in a fictional form. The relative of objectivity of beauty makes the interpretation in the interpretation and reasoning of the design form a difference generates pluralism in the meaning appears more in the individual recipient and less as the designs expanded to the groups so the stimuli vary in quantity and in the consideration of them , the larger the area of receiving groups more in the individual.

Looking for Common Ground: A Thematic Comparison between Tang Xianzu's and Shakespeare's Dramatic Imagination

Looking for Common Ground: A Thematic Comparison between Tang Xianzu's and Shakespeare's Dramatic Imagination

English Literary Renaissance (Winter, 2017, pp. 1–192; Spring, 2017, pp. 193–323; Autumn, 2017, pp. 325–448)

English Literary Renaissance (Winter, 2017, pp. 1–192; Spring, 2017, pp. 193–323; Autumn, 2017, pp. 325–448)

Tragicomic Conceptions: The Winter’s Tale As Response to Amphitryo

Critics have long seen The Winter’s Tale’s mixture of tragic and comic elements as rejecting classical conventions. Yet the play’s tragicomic frame has an important classical model, Plautus’ Amphitryo, a play celebrated in the sixteenth century for coining the term tragicomoedia to describe its generic playfulness. Shakespeare’s engagement with Plautus has been well established, but typically identified with his early plays. Amphitryo, which dramatizes the emotional suffering of a pregnant wife wrongfully accused of adultery, haunted Shakespeare’s dramatic imagination, especially as a model for intermingling tragic and comic modes. In revisiting the play’s juxtaposition of pregnancy, unjust accusations, divine intervention, and miraculous reconciliation, The Winter’s Tale similarly explores the tragicomic potential of the fertile female body. With its focus on the processes of childbearing and its delayed resolution, the play calls upon the language of origin, birth, and growth to explore generic conventions and rethink the production of authorship. [B.B. and T.P.]

Symbolic water imagery in the drama of J. P. Clark-Bekederemo

This essay examines symbolic water imagery in the drama of J. P. Clark-Bekederemo. It is necessitated by the lack of a critical enquiry into that aspect of the renowned dramatist’s creative use of water imagery, its literal and figurative counterparts having been examined already. Hinged on the theory of imagery, the study observes that Clark-Bekederemo is adept at manipulating locally-derived imagery in his drama, and that water imagery forms the nucleus of that local imagination. The study discovers that the symbolic water images used in the plays are largely conventional, but that in spite of their conventionality, the playwright deploys them to such private purposes as the enhancement of the plays’ tragic import, the reinforcement of their Ijaw settings, and the enunciation of the socio-religious and cultural life of the same society, whose citizens constitute the bulk of the plays’ dramatis personae. It concludes by stressing that symbolic water imagery is an integral and functional component of Clark-Bekederemo’s dramatic imagination. Keywords: Imagery, Symbolism, Water, Drama, J. P. Clark-Bekederemo

"We Should Be That Iago": Counterfactual Sympathy and the Lyric "We" in Augusta Webster's Portraits and A Housewife's Opinions

Augusta Webster called her 1870 collection of poems Portraits, but according to a review in Nonconformist, title is misleading. The poems, reviewer explains, not portraits, but sketches, since Webster's of prevents her from achieving exacting objectivity required by true portraiture. (1) Specifically, reviewer claims that Webster's dramatic imagination overwhelms her critical faculty in poem Castaway. The poem, a first-person account of life of Eulalie, a contemporary high-class courtesan, is plausible as the kind of pleading a pure might offer on behalf of a sister but implausible as a monologue spoken by an actual prostitute. Referring to Eulalie's introspective account of her past, including a failed attempt to start a new life at a Magdalene refuge for women, reviewer reasons that [t]he woman who had resolution enough to subject herself to so keen a torture as all this remembrance and self-judgment involve, would have been able to break away from her entanglements, and could have borne discipline of 'the Refuge' (p. 417). In speculating about what would have been able to do if she had possessed a particular moral quality, reviewer invokes contemporary Victorian debates about women, moral responsibility, and social reform. More specifically, in phrasing that speculation as a statement--if a woman had resolution to produce such a self-searching text, she would have been able to bear Refuge--the reviewer makes use of a set of values that Webster's poem actively works to question, criticize, and re-form. (2) While critics have usefully pointed out ways in which Castaway addresses contemporary Victorian debates about prostitution, women's work and education, and Woman Question in general, argue that Webster engages with these discourses not only thematically but on level of sentence. (3) Examining Webster's own use of statement in Portraits and in essays that she collected in 1879 under title A Housewife's Opinions gives us access to a developing line of Webster's poetics and social thought. In these texts, Webster mounts a critique of thinking that so often shaped Victorian novel and Victorian literature of social reform, in which narratives feature contingencies leading to individual moral failure or redemption. As an alternative, Webster proposes a specifically poetic version of thinking, a mode refer to as counterfactual sympathy. In this mode, readers' identification with and radical sympathy for a poetic speaker produce expanded imaginative communities that can enact real social change: individual I is replaced by a collective we through reading of poetry. This essay traces development of Webster's poetics of we--from Portraits, in which Webster experimented with use of we as an alternative to I most often associated with both lyric and poetry, through A Housewife's Opinions, in which she codified these ideas into an extensive social and poetic theory--in order to demonstrate that Webster's goals as a political activist and her techniques as a poet are intimately linked. begin by considering statements in Castaway and in an essay from A Housewife's Opinions, Poets and Personal Pronouns, to show how Webster's poems served as a testing ground for theories of reform and social thought that she went on to develop in her essays. Eulalie in Castaway, attempting to imagine an alternative reality in which she might not have fallen or been cast away, tests multiple solutions to problem of prostitution by incorporating them into a series of statements and questions. Ultimately she rejects thinking as unproductive, as do speakers in many of other poems in Portraits. …

A Technology Study on Projection Mapping for Dynamic Object Tracking

Recently, media technology has been actively adopted in the performing arts industry to realize the dramatic imagination of artists, with the trend of productions becoming more high-tech, larger in size, and longer-lasting. In this research, in terms of using media technology in performance, the possibility of moving beyond the existing state of image projection, where an image is projected onto a fixed object, is suggested in order to realize artists’ dramatic imaginings through technology that projects images onto moving objects in real time.

The Making of a Poet, the Making of a Poem: Aurora Leigh and The Ring and the Book

46 Victorians Journal The Making of a Poet, the Making of a Poem: Aurora Leighand The Ring and the Book by Alan Barr Aurora Leigh (1856) and The Ring and the Book (1868-69) are the acknowledged masterpieces of Elizabeth Barrett Browning and Robert Browning. Both epic-length poems are pervasively concerned with art and the making of poetry. Husband and wife worked together, influencing and critiquing each other’s writings, and yet the striking observation that these two monuments of Victorian literature can usefully be understood as complementing each other remains unarticulated and unelaborated. While the earlier poem celebrates the evolution of a female poet, the later relishes a mature poet’s fashioning ofpoetry. The Ring and the Book has long been recognized as a major nineteenthcentury poem, attracting repeated critical attention—including four substantial studies: by Altick and Loucks (1968), Mary Rose Sullivan (1969), William Buckler (1985), and Ann Brady (1988). These monographs and numerous scholarly articles explore the poem’s principal images, its narrative structure and prosody, its characterizations, how it portrays social attitudes—including those concerning religion and gender and the possibility ofascertaining truth—and, centrally, the act ofcreating art. Though New Criticism tended to ignore Elizabeth Barrett Browning’s poetry, “feminist criticism—in its many historical iterations—ensured that her writing found its proper place in the literary canon” (Mullen 63). In the reconstituted Journal of Browning Studies, Simon Avery reports the positive shift in critical responses to EBB, now regarded a person of “increasing self-agency, experimentation and technical skill ... often bold and challenging and clearly committed to poetry as serious socio-political work” (7). Alison Chapman, reviewing The Complete Works ofElizabeth Barrett Browning (2011), declared it “a triumph: a heroic, feminist enterprise that finally gives us the edition EBB deserves .... [W]e now have a revolutionary new EBB,” worldly, outspokenly involved in contemporary social, cultural, and political issues, a scholarly humanist (607). This splendid edition, along with the ongoing publication of her letters, reveals “a new EBB embedded within her complex intellectual, literary, and cultural networks: provocative, politicized, experimental, and modem” (610). Critics are responsive to the altered estimation of her poetry, particularly new scholarship on Aurora Leigh emphasizing its social and gender issues, the evolution of Aurora as a poet, and its conscious participation in a strong literary tradition. While the greater public delighted in the Perseus and Andromeda tale re­ enacted in the Brownings’ elopement, the literary world focused on their artistic cooperation and contributions to each other’s artistry. None of the discussions, however, recognizes the complementarity of the poets’ major poems, that they can be seen as depicting stages that follow, one from Victorians Journal 47 the other. Even the two articles that treat them together ignore that complementarity: James McNally identifies echoes from Aurora Leigh in The Ring and the Book and notes the awareness each had ofthe other’s craft specifically, but he makes no mention of their common interest in poet and craft in the abstract. George Ridenour comments that the two long poems occupy a similar, distinguished place in the corpus of each poet but not that they depict sequential processes: specifically, the making ofa poet anda poet’s transmuting of“fact” into art, both complementary aspects ofthe creative process. Nina Auerbach’s review of critical debates about the Brownings’ collaborative relation notes that “Nobody ... has yet looked closely at the poetry that resulted from this marriage of poets” (162). She concentrates on the psychological tussle between them—Elizabeth, who would express herself in an unconcealed if inconsistent voice and Robert, who typically dramatized personae—but she does not tum to the subject matter common to their epic-length poems. More recently, Mary Pollock detennined: “Quite simply, Aurora Leigh could not have been written without Robert Browning. The generative power of Browning’s presence in Elizabeth Barrett’s life can be felt throughout the courtship correspondence, in which Aurora Leigh began to take shape” (175). Kennedy and Hair, in The Dramatic Imagination ofRobert Browning, offer a telling correction to such estimations. Their chapter, “A Worthy Fellow Poet,” describes the intense, fruitful literary relationship that existed between Elizabeth and Robert before they were married and even...

Fiction and Fact in Shaw's Account of Major Barbara's Salvation Army Origins

ABSTRACT: On various occasions over the years, Shaw supplied an authoritative account of how he came to think of and write Major Barbara—especially with respect to its Salvation Army sources. But his dramatic imagination colored his recollection of events and their reconstruction. Shaw's account of the drama's composition is not only incomplete but defective, requiring a sorting out of fact from fiction. This article by the late Sidney P. Albert contributes toward that end, while also making available for the first time the sheet music of the actual Salvation Army march Shaw had in mind for use in its production.

Theodramatic Rehearsal: Fighting Self-Deception through the Dramatic Imagination

This paper seeks to appropriate the insights of dramatic theology for Christian psychology and soul care. According to Kevin Vanhoozer, Scripture is the ‘script’ for human beings’ fitting participation in the acts and deeds of God in the world (i.e., ‘theodrama’). Keeping with this dramatic paradigm, the author will explore what ‘rehearsal’ might entail by drawing from a branch of psychotherapy called ‘psychodrama.’ The main question to be addressed in this appropriation of dramatic theology is, “How might dramatic rehearsal combat self-deception?” The author will only begin to answer this question, but in the attempt it is hoped that further reflection and clarity will be induced.

The reading in the Vygotsky's Psychology of Art - The catharsis and dramatic imagination education -

The <Hamlet> reading in the Vygotsky's Psychology of Art - The catharsis and dramatic imagination education -