Dramatic Representation Research Articles

Madrasa, 2023

ABSTRACT This repertory-dramatic study examines the portrayal of Arab characters in Hebrew drama on both stage and TV. It delves into the exploration of ‘mixed’ love stories, initially within the realm of theatre and later extending into Israeli television drama since the 1990s. The scope of this study encompasses a range of plays, theatrical performances, and television dramas spanning the years 1912–2023. It places particular emphasis on ‘key’ dramas that have played a pivotal role in shaping the content and dramatic representations of conflicts, often sparking public debates, such as Allah Karim (1912), Na’im (1978), Two Minutes from Fureidis (2002), and Madrasa (2023). Madrasa appears to be potentially groundbreaking comedy series that addresses important social and cultural issues in an engaging and entertaining manner.

Revenge Tragedy Revisited: Women and Law in Nina Raine’s Consent

‘Revenge’ has been a common theme in western drama, the primary examples of which are found in well-known Ancient Greek plays and Renaissance revenge tragedies, in which one major thematic quality of revenge is its affinity with the themes of ‘justice’ and ‘law’. Mirroring the inefficacy of legal mechanisms in such well-known plays, Nina Raine’s Consent (2017) portrays three women who have to struggle against a gendered-biased legal system with their own methods in their search for justice. This article argues the play can be read as a contemporary revenge tragedy with a feminist outlook, in which the female characters suffocated within a patriarchal legal construction try to attain justice on their own, portraying women’s permanent confinement within legal discourse both in real life and dramatic representations.

The Tragedy of Humanity: Christopher Marlowe’s The Jew of Malta Revisited

Christopher Marlowe’s The Jew of Malta is a significant example of the transition from Morality Plays to a period of more developed and mature drama in the Elizabethan period. The themes that Marlowe handles and the protagonist he presents in the play emerge as aspects of a distinctive approach to dramatic representation and the concept of drama of that time. The play is set against the background of the struggle for economic, political, and military dominance between the Catholic Spain and Moslem Ottoman Empires and the Catholic administration and Jewish mercantile class in Malta. Religious conflicts and bigotry, intrigues, betrayals, and revenge plans committed by almost all characters representing different religious communities, ethnic prejudices that affect not only individuals but also the whole society, greed, and moral corruption emerge as the basic themes. Although the full title of the play was Famous Tragedy of the Rich Jew of Malta, the play could not gain the status of a tragedy in the Aristotelian or Elizabethan sense of the word for many critics due to its dominant farcical characteristics. For a modern reader, however, The Jew of Malta can be considered as a satirical tragedy, the tragedy not of the protagonist Barabas, but of humanity that craves material benefits and political power, and for the sake of achieving these, commits all kinds of villanies including exploitation, theft, and murder, and as a result, socially experiences the fall of the tragic hero.

‘Wilt Break My Heart?’ Takotsubo Syndrome and Shakespeare’s Discourse of Heartbreak in Antony and Cleopatra and King Lear

ABSTRACT Shakespeare’s characters knew well the dangers and causes of an overcharged heart. This article places representations of heartbreak in Shakespeare’s canon in dialogue with twenty-first-century medical understanding of heartbreak or Takotsubo syndrome (TTS). Over thirty years since its coinage in cardiac medicine, heartbreak syndrome or TTS remains poorly understood. In response to this dearth of information around TTS, this article turns to early modern accounts of heartbreak – particularly its dramatic representation in King Lear and Antony and Cleopatra – and examines these alongside unfolding research into TTS. The essay illuminates a contagious inter-heart dynamic at play in King Lear and analyses best practice treatments for supportive management of stress-induced cardiomyopathy in Antony and Cleopatra. This comparative analysis of broken hearts in Shakespeare and in twenty-first century medical knowledge of TTS aims to offer mutual enlightenment across Shakespeare studies and cardiac medicine.

Enhancement of bioavailability of herbal drugs for treating viral therapy using SNEDDS as the delivery system

SNEDDS were developed with the objective of treating low bioavailability of drugs for antiviral drugs due to its low solubility. The scientist has increased their interest in improving bioavailability and absorption of poorly-water soluble drugs using Self-Emulsifying lipid technology. SNEDDS was an isocratic mixture contains an Oil, Surfactant, Co-surfactant, and Drug in accurate amount. The SNEDDS was primarily prepared as liquid-SNEDDS, but S-SNEDDS was more stable as compared to L-SNEDDS. As viral infection was major threat for people due to its limited efficacy and Serious adverse effects. The most damaging viral diseases was treated with help of SNEDDS as delivery system. They were a leading cause of morbidity and mortality. The plant and plant source were major source from which the extracted metabolites used for synthesis of drug through metabolic pathway. The phytochemicals and extracts were better and safe alternative for synthetic drugs. The phytochemicals like Curcumin, Myricetin, Apigenin etc. used as drug for treating antivirals using SNEDDS. This technique was used for quantitative and qualitative analysis. Also, the ternary phase diagram gives dramatic representation of Oil, surfactant and Co-surfactant which shows its concentration. Some characterization techniques were Droplet size, Zeta potential, XRD, DSC, FTIR, and TGA. Also, QbD provides a platform for systemic production of drug formulations. QbD was used for its better bioavailability.

Spare the rod and spoil the pervert: Corporal punishment and the nineteenth century in popular culture

This article compares corporal punishment in nineteenth-century fiction with corporal punishment in the fictional recreation of the nineteenth century in twentieth-century film and television. It locates in the literature of the actual nineteenth century two creative impulses influencing the dramatic representation of Victorian schooling in modern adaptations. One is the evocation of schools in Victorian works of fiction, which became television and film adaptations. Another impulse is the subversive and covert flagellation literature of the fin de siècle. Both the respectable and the illicit literatures adduce core elements of corporal punishment: the formation of tableaux of bodies; the importance of access to the body; the subversion of what should be an act of correction because the subversion becomes permanent; and the way the restorative becomes aberrant. This article proposes that the popular culture of the twentieth century made overt what had been covert in the nineteenth century. Surveying period drama on British television and film using the 1971 adaptation of Tom Brown’s School Days as a focal point, this article proposes the fusion of the overt and covert of the preceding century. Close readings of popular culture productions show, as do the reactions of contemporary viewers, that they presented corporal punishment which subverted rather than chastised and which perverted rather than restored. These twentieth-century evocations of the previous century were contiguous with debate on the use and abolition of corporal punishment in modern schools. This article weaves together the past and the present, suggesting that classic works made by modern interpreters evoked the past in ways that subverted the present.

Constructing A Scale Based on Dramatic Representation of The Sociological and Psychological Skills of Students with Autism Spectrum Disorders and Verifying Its Psychometric Properties

The current study aimed to construct a measure based on dramatization of the sociological and psychological skills of students with autism spectrum disorders, in light of the variables of gender and group (experimental and control), and to verify its psychometric characteristics. The sample of the study consisted of (50) male and female students with autism spectrum disorders who were selected in a simple random manner. The sample was distributed into two groups. The experimental group amounted to (25), and the control group amounted to (25). The results of the study showed that there were statistically significant differences at the significance level (? ? 0.05) in the students’ performance on the immediate post-measurement in favor of the experimental group, and there were no statistically significant differences at the significance level (? ? 0.05). ? ? 0.05) in the students' performance of the sociological and psychological skills between the two measurements; The immediate and post-deferred dimensions of the experimental group, which gives an indication of the effectiveness of the scale of the sociological skills of students with autism spectrum disorders, and the current study, based on several indicators extracted from the SPSS program, concluded that the scale of the current study was judged with honesty in data representation, as well as with a high level of stability.

초연결 시대의 초자연적 교감과 초연결성의 윤리

This paper focuses on the process of recovering supernatural interactions for all the characters in Dead Man’s Cell Phone. Sarah Ruhl is recognized as a playwright and thinker who expands cultural influence beyond the theatre through a conscious confrontation with the contemporary era. Dead Man's Cell Phones represents a new dimension of dramatic action that generates ‘freedom of hyperconnectivity,’ ‘hyper-connected survival,’ and ‘spiritual networks’ that humanity has neglected due to the temptation of materialism and technological advances. The play revolves around the dead man Gordon and his cell phone, exploring the human ontology that needs to be filled with meaning in the context of change and making connections among humans as well as humans and non-human others. Organ trading in Dead Man's Cell Phone is a dramatic motif that first appeared in English dramas. In this play, organ trading is a dramatic representation of the ethics of hyperconnectivity and raises ethical questions about the consequences of hyperconnectivity. This play demonstrates that drama is a platform for the transition of human life in restoring primitive connectivity in the hyper-connected era.

Canonical Indian Literature and Bhasa: a Study in Texts and Their Aesthetics

Indian Knowledge System, the repository of the entire literary and aesthetic corpus of the sub-continent, has a rich repertoire comprising texts like The Ramayana and The Mahabharata and critical texts like The Natyasastra. The former belong to the canon of Epics, they stand representatives of a tradition comprising texts like Chandrabati’s Ramayana, Jaini Ramayana, Asura: Tale of the Vanquished by Neelakantan, Draupadi by Pattanaik, etc. The genres that the tradition comprises vary from poetry to novel and a long oral tradition, as Nabneeta Dev Sen opines, of songs from these epics. In the list, however, is another writer, belonging to the canon of Sanskrit Dramaturgy, whose works are the oldest surviving extant texts in Sanskrit drama: Bhasa, the father of Sanskrit Drama. Chronologically, Bhasa is placed between the composition of Natyasastra and Malvikagnimitram and his plays are dramatic representations of the events of The Ramayana and The Mahabharata. The research paper attempts to delve into two primary questions: that of aesthetic fidelity of the father of Sanskrit drama, to a tradition of writing that precedes him; and secondly, his literary fidelity to the foundational narratives in the Indian Literary Traditions. Through an interrogation of Bhasa’s works on these two parameters, and applying the terminologies of Adoption, Adaptation and Abrogation, the paper shall strive to place him in the canon of Indian Literature and the implications of his positionality, on Indian Literature, especially in relation to contemporaneity.

"It'll never end, I'll never go": Representation of Caregiving in Samuel Beckett's Endgame and Footfalls.

Research on the unrepresentability of death in Samuel Beckett's oeuvre abound in Beckett scholarship, but little attention has been given to the artist's representation of caregiving to the dying in his plays. With reference to Martin Heidegger's concept of care and Albert Camus's idea of the absurd, this article analyzes Endgame (1957) and Footfalls (1976) by attending to Beckett's dramatic representation of caregiving as undergirded by a sense of its absurdity. The almost 20-year gap between the writing of both plays highlights the development of an understanding that this sense of absurdity is never about the caregiver's questioning of one's obligation to the dependent but about how one chooses to respond to caregiving as an absurd predicament. The pertinence of such a representation of caregiving by Beckett lies in its poignant articulation of a complex experience that is often left unexpressed by caregivers who prioritize their dependent loved ones over themselves.

Neujahrsgeschenk mit Gesang

Abstract At the turn of the year 1623/24, Martin Opitz published the Song of praise about the joyous birthday of our Lord and Saviour Jesus Christ in German Alexandrine verse. Being a gift for the New Year the work combines high erudition with a very personal stance. The poem concludes with a Latin Sapphic ode which derives its full meaning from the intended well-known melody. Amazingly many poets copied Opitz in writing epic-dramatic poems including song(s) as New Year’s dedication; they imitated his motifs and even his title by way of aemulatio. When Opitz’ tendency towards dramatic representation and visualisation is enhanced, the work comes close to another musical epic-dramatic genre, the actus. We encounter this in several academic communities, its finest example being a musical composition by Johann Rosenmüller to words by Johann Ziegler.

The Jewish Heroes of Warsaw: The Afterlife of the Revolt by Avinoam J. Patt

Reviewed by: The Jewish Heroes of Warsaw: The Afterlife of the Revolt by Avinoam J. Patt Maria Ferenc Avinoam J. Patt. The Jewish Heroes of Warsaw: The Afterlife of the Revolt. Detroit: Wayne State University Press, 2021. xvi + 542 pp. Already in October 1943, when hardly any details on the uprising in the Warsaw Ghetto were known, and the remaining fighters were still struggling to survive in German-occupied Poland, NBC radio broadcasted a play by Morton Wishengrad entitled The Battle of the Warsaw Ghetto, the first dramatic representation of the revolt. Wishengrad’s play was the first element in the long chain of memorial events and cultural productions relating to the most famous example of Jewish self-defense against Nazis during the Holocaust. In his newest book, The Jewish Heroes of Warsaw, Avinoam Patt takes his readers on a fascinating journey through the interpretations of one of the most well-known events in the history of the Holocaust and proves how vital it was as a point of reference for postwar Jewish identity. The heroic acts of Warsaw Jews, later dubbed “the revolt of the doomed,” have received attention from all generations of Holocaust researchers, and the subject is far from being closed. In his book, Patt has pointed to yet another subject that has long deserved thorough research: how the revolt had been remembered, commemorated, and what it meant for Jewish communities in United States, Israel, and (although this subject is not tackled consistently) in other countries. Patt’s book succeeds in presenting the fascinating history of the early reception of the famous historical event. One of his most essential conclusions seems to be that the reception of the uprising belongs to the history of the postwar period and, on some level, even defines it. The Jewish Heroes of Warsaw is a real tour de force: Patt controls all narrative lines. (Though, it has to be noted that the book is long, and sometimes detailed background may distract the reader’s attention.) In the first chapter, Patt aptly describes selected aspects of the history of the Warsaw Ghetto to inform his readers on the events leading up to the revolt and introduce the people behind it (some of whom would later become important actors in its commemorations). He discusses [End Page 207] the uprising based mainly on recent work by the Israeli historian Havi Dreifuss, author of the vital book Geto Varshah: Ha-sof (Jerusalem: Yad Vashem, 2018). In chapter 2, Patt looks at what (and when) was known in the United States and Israel about the Holocaust as it was happening. Early news about the Warsaw Ghetto Uprising was immediately available abroad—though devoid of any details, which left much space for filling the outline of the information with meaning, and said more about the societies that produced that meaning than about the event itself. Chapter 3 discusses how the surviving fighters’ acts of writing the history of the uprising intertwined and merged with the making of the event’s mythology (that on some level antedated the revolt itself). Chapter 4 is devoted solely to the celebrations of the first anniversary of the uprising in 1944, still during the war. In chapter 5, Patt analyzes how the Zionist interpretation of the revolt has been shaped—he demonstrates that the uprising immediately became an important token of the popular imagination and that control over the narrative could translate into political, social, and cultural gains for various parties. The Zionist narrative provided answers that diminished the anxiety emerging from questions regarding Jews’ allegedly “passive” behavior during the Holocaust. Chapter 6 discusses the meaning of the revolt for the surviving Jews in Europe. Patt convincingly argues that the uprising was politicized from the very beginning and that various political movements stressed their role in it. “Only Hehalutz fought,” wrote Yitzhak Zuckerman, one of the leaders of the Jewish Fighting Organization (278–79). In chapter 7, Patt tells the story of the surviving fighters of the ghetto revolt and asks how they positioned themselves toward their biographical legacy in the first postwar testimonies, which, at the same time, built the legend of the event and documented it. Since the meaning of...

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‘’Las sir! I’m no Ghost’: the misprision of spectral presence in Caroline drama

Scenes containing hoax hauntings or living characters mistaken for the spectral undead occur more often in Caroline drama than in any previous period of English theatre history. What drove the fashion for scenes of spectral misprision in this period, such that James Shirley’s 1633 revision of John Fletcher’s The Night-Walker (c. 1615) – a play replete with feigned phantoms – could haunt so happily in its new, Caroline performance context? This article answers that question not by situating such scenes against early modern theological contexts or patterns of popular belief, but by reading stage hauntings and paradramatic moments of spectral misprision across Caroline drama as constituent elements to a metatheatrical aesthetic that scrutinises inherited representational traditions. As we shall see, a palimpsest-like metatheatrical overlaying of dramaturgical conventions and intertheatrical references creates a network of interpretative cues and miscues exploited by Caroline dramatists and dissembling characters alike, from trapdoors and flour-faced millers, to borrowed lines and allusions to familiar, inherited hauntings from the emerging early modern dramatic canon. What arises, in turn, is a spirit of self-reflexivity in Caroline drama, whereby the figure of the ghost, hoaxed or otherwise, foregrounds and puts stress upon the insufficiencies – and value – of dramatic representation and spectatorship.

How Can We Interpret the 21st-Century (No Longer) Dramatic Texts and Theatre in Art and Theory?

The essay analyses the corpora of the dramatic or non-dramatic texts of contemporary authors (Simona Semenič, Milena Marković, Tim Crouch, Oliver Frljić, Katarina Morano and Žiga Divjak, Anja Hilling, Wajdi Mouawad, Dino Pešut and She She Pop) as a border area belonging to both the field of literature and theatre. While detecting the specifics of the interpretation of drama and theatre, the author uses eclectic tools offered by literary and performing arts studies to analyse the corpora of contemporary drama or no longer drama and performing practices. Focusing on a series of contemporary playwrights and theatre directors, he seeks answers to the question of how we can interpret the changes in drama and theatre. How did the specific return to the theatre of words, as defined by the French theorist of contemporary drama Élisabeth Angel-Perez, take place, and to which extent are today’s theatre and drama still post-dramatic but nevertheless establish a new return to the dramatic and dramatised? How do these “experiments belonging to the so-called ‘post-dramatic theatre’ which is also a (post-)deconstructionist theatre, eventually, end up redramatising whatever it was they strove to un/de-dramatize” (Angel-Perez)? Thus, paradoxically, “‘no-longer-dramatic’ texts put forward a new dramaturgical form that subverts the dramatic representation of the world as a fictive whole and accommodates the ‘unsurveyable present’ (Lehmann) of the mediatised-globalised world”.

REPRESENTATION OF ELASTIC LANGUAGE IN THE PERFORMATIVE THEATER: THE ACTOR 'S DISCOURSE

The concept of performative theater has recently become increasingly important in the research of cultural and social characters. Conventionally, modern stage performance is considered as a representation of reality, in which one of the fundamental ways of expression is a elastic language with a living presence and a real gesture. The body, physicality and elastic language of a drama theater performer participate in the creation and representation of elastic artistic texts. The author studies the nature and role of the actor's individual physicality, its influence on the artistic context of the performance. The question of co-authorship of an actor and a director in the creation of artistic texts in a special elastic way is actualized. Through the prism of the intertexuality of the performance, the techniques of representation of the actor's elastic language are analyzed, where his personal and artistic intertwine together. The issues of representation of elastic language in the structure of dramatic representation in the discourse of actor's existence are of great importance not only for cultural studies, but also for practical experiments in performative theater. A comparative analysis of the use of elastic language in the performances of the directors of the drama theater of the XX-XXI century helps to track the process of shifting the focus from the director to the actor as a thinker of allegories. In the context of performative theater, the method of representation of elastic language plays an important role, since it actualizes the issue of the actor's personal search in creating specific ways of expressing the body as a process of organizing a special artistic text.

VERBAL AND VISUAL SIGNS OF INTERACTIVE PARTICIPANTS IN SPIDER-MAN MOVIE POSTERS

Advertisements contain a variety of visual and verbal signs that have their own meaning. The study aims to investigate more about Multimodal Discourse Analysis related to Spider-Man movie posters. To this end, researchers conducted a review of the relation of visual and verbal signs with interactive participants (audiences) with nine (9) posters from the superhero movie "Spider-Man" which are taken from the Internet Movie Database (IMDb). Method of qualitative descriptive analysis are written in accordance with the Royce Intersemiotic Framework (2001). The findings show that in the "Spider-Man" movie poster there is a relationship which includes visual signs (visual contact, social distance, participation, power relation and modality) and verbal signs (mood and residue) to interactive participants. The conclusion that can be produced is that most of the posters with visual techniques and declarative modalities become a connector between images to the audiences. Such visual and verbal characterizations show that dramatic representations in posters easily touch the emotions of the audience. Eventually lead to the influence of actions on the audiences and imagining the character and storyline of the movies and attracts the audiences to watch it.

Beyond aesthetics and appearance: Ẹpa masks of Iyah Gbẹdẹ

Ẹpa masks are produced in order to enable the spirit of Ẹpa deity (Elela in Iyah Gbede) to be felt and appreciated by the society and to appear as a visible form or dramatic representation of mythical actions. However, there are substantial differences between some of the most spectacular and complex Ẹpa masks ever carved as far back as early to mid-20th century by some notable Yorùbá woodcarvers in southwestern Nigeria with those found nowadays in Iyah Gbede and some other Ẹpa practicing communities. Craftsmanship and form were considerations in the aesthetic judgment of the masks and headdresses among the masqueraders and the devotees of Ẹpa deity, but not necessarily the primary ethos. This paper therefore focused predominantly on visual element qualities and morphological presence in all Ẹpa masks and headdresses found in Iyah Gbede. The paper explored brief history and proceedings of Ẹpa masquerade tradition in Iyah Gbede as well as examining the visual content (thematic analysis) of the masks and headdresses to reveal a nexus between various creative traits and styles displayed by carvers in Iyah Gbede. Fourteen (14) major mask types found in the Iyah Gbede were identified from both conventional and unconventional (plastic) point of view. This paper concluded and affirmed that some new Ẹpa headdress were reproduced in Iyah Gbede when some of the ancient headdress was stolen; while some other headdresses were refurbished with paint.

At the Feet of Philosophy: The Dialectics of the Two-Legged Thinker

Focusing on Socrates and Oedipus, this article explores the role of imagery of legs and leg-associated activities in philosophical and dramatic representations of philosophers. Socrates's philosophizing begins with wandering, culminates in immobile standing, and tragically ends with his sitting with his legs planted in the ground. Oedipus's philosophizing involves tragic ignorance of his own legs: he has succeeded in solving the philosophical riddle about the legs of Man in general, yet fails to see his own feet and thereby to solve the riddle of his own identity.

Playback Theatre: Group, stories, and stage as elements of change

Playback Theatre (PT) is a modality of improvised theatre that uses the personal narratives of the audience as the basis for dramatic representations. There have been empirical studies on its benefits at both the individual and group levels. The aim of this study was to understand the subjective experiences of participants in a PT group and to explore the therapeutic qualities of this method. An intervention was organized, consisting of 12 weekly PT sessions in a closed group. Ten participants agreed to participate in a Focus Group session, which was recorded and transcribed. Thematic Analysis of the interview found three main themes: the Therapeutic Dimension of the experience, the role of Story Sharing in terms of group creation, cohesion, and empathy, and the Stage dimension that allowed for materialization, interpretation, and perspective taking concerning the personal narratives. Data suggest that PT can be a useful and important tool, with an intimate relationship with psychotherapeutic practice, enabling encounter, creation, sharing of subjectivities, and construction of new meanings.