Dramatic Style Research Articles

Space, Place and Identity in Bernard Shaw’s The Tragedy of an Elderly Gentleman

The last of Bernard Shaw’s “Irish” plays, The Tragedy of an Elderly Gentleman (1921), raises the same concerns over colonialism, nationalism, and identity explored in John Bull’s Other Island (1904) and O’Flaherty V.C.: A Recruiting Pamphlet (1915) but does so from outside his preferred dramatic style, theatrical Realism. In this proto-Absurdist experiment, Shaw invents an Ireland in which differences of religion, class, and politics are moot; in 3000 A.D., age is the only category of social distinction. Experimenting with dramaturgical form and eschewing mimetic scenic design, Shaw utilizes Ireland’s mythic wildness and the transformational effect of its climate as an affective element of the play’s argument. Through Shaw’s treatment of space, this future Ireland with its inherently Irish inhabitants becomes the utopic home to a superior race that portends a life beyond the oppressive British/Irish and later intra-national binary partisan reality of post-WWI and pre-Free State Ireland.

A Big Win in a Long Case: U.K.'s High Court Overturns an Arbitration Award Valued at $11 Billion

A long‐running battle over a decade‐old arbitration award that, with interest, has soared to more than $11 billion against the Nigeria government appears to be nearing its end in dramatic style: The United Kingdom's High Court of Justice confirmed the reversal of the arbitration award.

Language Style in Advertising: A Study of the Print Media

This study investigates the language style of English commercial advertisements in the print media. The study seeks to find out the kinds of language and style mostly used in English advertisement; this is because previous studies in stylistics have concentrated on the literary approach to stylistics. This study finds this technique very one-sided and subsequently proposes a dual approach to the analysis of the language style of advertisement. The research employs William Well’s stylistic theory as a theoretical construct. The analyses used the descriptive approach. The research used note taking as the instrument to elicit data. We found out that the personification style is mostly used and the occurrence in our corpus is about four times; it is followed by alliteration style which occurs in three advertisements and assonance style which occurs twice in our corpora. The next is the use of simile, anastrophe, apostrophes, asyndeton, poly-asyndeton, and chiasmus styles which appeared once in the advertisements. The advertisements also used narrative style, dramatic style, newsy style, dialogue style, and humorous style. The study concludes that in the use of personification and alliteration styles, the creators of the advertisements mostly seek to use simple and interesting style to create pleasant, mellifluous, captivating sentences, which will persuade, influence, and capture the readers’ attention to patronize their products.

Analisis Elemen Desain Pada Metafora Arwana Merah Dalam Busana Bergaya Sexy Dramatic

Red Dragon is a fashion collection inspired by the red Arowana fish and embodied by the metaphor of the red Arowana fish in a sexy dramatic style piece of clothing. Every piece of clothing has several elements that form a single unit called design elements or design components. Design elements have an important role in a work of art, especially design elements and principles that can be seen from fashion design, detail, and material selection so that the value of beauty is formed in the clothes used. Red Dragon's fashion works are composed of design elements consisting of design elements and principles. The design elements in Red Dragon's fashion work consist of points, lines, planes, shapes, spaces, textures, and colors. In addition to design elements, Red Dragon's fashion works also have design principles that include unity, rhythm, balance, proportion, and center of interest. Design elements and principles are arranged in a fashion work systematically so as to form an order that has beauty.

And, Perhaps, O’Neill at Last Belongs: O’Neill’s Dramaturgically Innovative Stage Directions

ABSTRACT Eugene O’Neill was constantly experimenting with theatrical styles and genres. From naturalism to expressionism, his plays both follow the tenets of each of these forms while containing a throughline that is, for lack of a better word, O’Neillian. This article argues that O’Neill’s stage directions contain pertinent information with regard to what aspects of these dramatic styles O’Neill is adhering to and what parts of his own style he has not relinquished. By looking at Bound East for Cardiff, The Hairy Ape, and Hughie in contrast to other plays written around the same time period in those specific genres, it becomes clear that O’Neill uses stage directions for the purpose of transmitting dramatic style. Like the Hairy Ape himself, O’Neill both belongs and does not belong to each of the dramatic styles he used for his plays, and this “failure” is perhaps his greatest achievement.

Revisiting a Debut at a Career's End: David Mamet's Lakeboat (1970/1980)

Revisiting a Debut at a Career's EndDavid Mamet's Lakeboat (1970/1980) Matthew Sorrento On April 13, 2022, I received notice that ReFocus: The Films of David Mamet, a planned anthology in Edinburgh University Press's film studies series, had been cancelled. Co-editors Michelle E. Moore and Brian Brems decided they could no longer in good conscience go forward with the project after Mamet's April 2022 comments to Fox News. Mamet—who won the 1984 Pulitzer for Glengarry Glen Ross (1983)—had made claims about the previous presidential election being stolen and, even more bizarre, that teachers are "inclined" to be sexual groomers of children.1 While in the middle of writing a chapter on Mamet's less-regarded 1997 film, The Spanish Prisoner, for the collection, I could understand Moore and Brems's decision. This cancellation signals an end of extended scholarly commentary of Mamet as an artist, now that he has recently embraced polemical writings for profit. Mamet's right-wing conversion began with his less coherent 2008 piece for The Village Voice, entitled "Why I Am No Longer a 'Brain-Dead Liberal,'" Here, he writes: I began to question what I actually thought and found that I do not think that people are basically good at heart; indeed, that view of human nature has both prompted and informed my writing for the last 40 years. I think that people, in circumstances of stress, can behave like swine, and that this, indeed, is not only a fit subject, but the only subject, of drama.2 Having celebrated humanity under duress, Mamet now condemns such struggles. And with little interest in humanity, his art—including recent plays like Race (2009) and The Penitent (2017), as well as Phil Spector (2013), an HBO TV film that he wrote and directed and which may be his worst [End Page 225] effort onscreen yet—began to lose its way. In both The Secret Knowledge: On the Dismantling of American Culture (2011) and Recessional: The Death of Free Speech and the Cost of a Free Lunch (2022)—and during the latter's press tour, which included the Fox News appearance—Mamet continued with more loose-formed commentary and plenty of "unqualified declarations" (in the words of Christopher Hitchens).3 These books feature the kind of maxims and wide reference points that are present in Mamet's interviews and in his worthy nonfiction on art, such as On Directing Film (1991) and Three Uses of the Knife: on the Nature and Purpose of Drama (1998). However, Mamet's recent political books recycle factoids that attack 1970s counterculture, diversity, and "elected leaders on the coasts." It is a particularly sad outcome for the once-great writer, as he exploits his capacity for turn of phrase to support a right-wing agenda. Earlier in his career, Mamet listened to the voices around him, both literary and media-borne, to develop an ear for dialogue and a style of drama.4 While he is now concerned with financial hegemony, Mamet was previously in tune with the common worker, especially in his debut play, Lakeboat (1970/1980).5 Showing an enthusiasm for differing perspectives, Lakeboat comprises 28 brief scenes set aboard a Merchant Marine steel freighter on the Great Lakes. The play depicts reflections on work and livelihood, including a fireman whose sense of professionalism relies on keeping watch with inaction, as well as seaman Fred, who remains bitter about his alimony payments.6 Audience surrogate Dale Katzman is a young, optimistic college student working onboard for the summer, as the author did at that age.7 Each of Mamet's boatmen could star in their own realistic proletarian drama. These crew members echo working-class theater of the early twentieth century, which ranged from the progressive work of Clifford Odets to thoughtful entertainments like Elliott Lester's play, Two Seconds (1931). Recent commentators have read Lakeboat in a literary scope, tying Mamet's debut to Eugene O'Neill's sea plays (specifically the expressionist The Hairy Ape [1922]), Melville, and Hemingway's Nick Adams.8 Mamet uses Dale Katzman's arrival to the freighter to invoke sea adventures, both coming-of-age ones...

Application of Multimedia Human-Computer Interaction Technology in Preschool Children Drama Education

With the continuous development of multimedia technology and children’s drama education as a very important part of preschool education, the combination of the two has attracted the attention of many scholars at home and abroad. Drama education for preschool children is the initial stage of children’s learning and the most important part of preschool education system. At the same time, preschool children drama education is the most basic stage of children’s intellectual development. The correct and reasonable preschool children drama education plays a great role in promoting their intelligence and development. The drama education for preschool children based on multimedia human-computer interaction technology not only expands new teaching methods for the traditional drama education model but also provides a good platform for teachers to choose teaching resources and injects new vitality into preschool children’s music education. This paper proposes the application of multimedia human-computer interaction technology in preschool children’s drama education. We analyze the current preschool children’s drama education curriculum reform that has limitations. The level of teachers’ drama education needs to be improved. Young children lack awareness of drama. Drama education for children lacks strong support from parents and other problems. In order to solve the above problems, we focus on voice interaction technology, image interaction technology, and somatosensory interaction technology in multimedia human-computer interaction technology, which establishes a set of teacher-multimedia-student three-dimensional crossover multidirection learning activity modes. In the multidirection learning mode, students can quickly develop their sense of rhythm. Teachers use image interaction technology to guide students to think about the relationship between content and form, so as to gradually form their own unique style of drama. At the same time, somatosensory interaction technology can cultivate teaching tasks seamlessly connected with the environment, so that students can follow the hologram through hands-on practice. Finally, this paper sets up a questionnaire on the experience of human-computer interaction mode in preschool children’s drama education, mainly to conduct a questionnaire survey on front-line drama teachers, aiming at preschool children’s drama learning activities and teachers’ teaching methods. In numerical experiments, we show teachers’ evaluation of the teaching effect of speech synthesis technology integrated into preschool children’s drama education and the classroom effect evaluation of speech synthesis technology integrated into preschool children’s drama education. The evaluation results show that the application effect of multimedia human-computer interaction technology in preschool children’s drama education is good, which can provide better services for preschool children’s drama education.

Eighteen Days in Tahrir Protests: The Perfomatives of Civic Action in Egypt’s 2011 Revolution

Abstract On January 25, 2011, a spontaneous mobilization of masses of Egyptian folks congregated in Tahrir Square calling for change in Egypt. ‘Bread, freedom and social justice’ is what Egyptian demonstrators chanted throughout their encampment in the Midan. Shortly after Tahrir Square had turned into a community of protestors congregating and setting up camp day and night in the large plaza, random protestors and performers started devising means of entertainment imbued with political satire with which to engage and incite the crowds. Songs and dances as well as lengthy dramatic monologues, verbatim testimonies, poetry recitations and various styles of storytelling emerged. Those performative acts of protest are similar in nature to renowned Egyptian dramatist Yusuf Idris’s recounting of the Egyptian village al-samir performance tradition, which was also performative and unruly in nature. This interdisciplinary study compares that indigenous dramatic art form, al-samir, with the revolutionary performatives of protest that sprang up extemporaneously in the Midan during the Egyptian revolution in 2011. The paper raises questions about the nature of protest and community formation, democracy, performativity and focuses only on the first 18 days of the January uprising, that specific historical moment only and its transformative effect on theatrical performances, performers and protestors at the time. The paper proposes that the Tahrir performatives of protest were an ephemeral phenomenon that appeared as embodiments and celebrations of political freedom in a specific time and place, and they ended when the call for democracy and the euphoria of the uprising of 2011 gradually faded away.

THE POETICS OF THE DRAMATIC MINIATURE “THE WAY FROM KRUTY” BY MYKOLA CHYRSKYI (VISNYKIVETS’ EXPERIENCE)

The dramatic legacy of Mykola Chyrskyi is scarce and consists of several texts, among which the most famous are the plays “Otaman Pisnya” (1936), “Andriy Karabut” (1936) and “Drunken Raid” (1938). The author neglected publication of his other dramatic texts, thus after his death those texts were lost, which created lacuna in academic perception of the Ukrainian playwright. The paper tackles theatre studies articles and accidentally found dramatic miniature “The Way from Kruty” both authored by Chyrskyi. The purpose of the study is to consider the playwright's views on the theatre in the context of “Visnyk” literary movement (1920–1930), to analyse the poetics of Chyrskyi’s work, to identify the peculiarities of his dramatic style and individual poetics, in particular, expressionist elements and details in the text of the found dramatic miniature. Chirsky’s ideological and aesthetic priorities were formed in the cultural environment of the participants of “Visnyk” movement that had a tremendous impact on his dramas and his understanding of the tasks of modern theatre. The playwright insisted on the organic connection of modern theatre art with the creative achievements of the 19th century, encouraging theatres to actively implement the national ideal. To achieve this goal, Chyrskyi proposed a form of modern theatre that has been tested in practice. “Teatr Nastupu” (The Onslaught Theater) was designed to have an appropriate repertoire — a kind of genre mosaic of dramatic scenes with heroic themes, declamations, grotesque dramatisations, “film etudes”, dances, songs. The Onslaught Theater was supposed to meet the demands of the times with a “stage language”, to synthesise the achievements of various arts, to raise vital issues that worried the Ukrainian public. The writer advocated the polishing of stage skills, its constant improvement through a network of theater schools, courses, studying literature on the theory and practice of the theatrical piece. Not the last place was given to the study of achievements of foreign theatres, training of highly qualified personnel of the theatrical stage. Drama “The Way from Kruty” was published in 1944 in the newspaper “Ukrainskyi Visnyk” (Berlin). By genre, it is a dramatic miniature, the topic and content of which fully corresponded to the author's understanding of the purpose of theatrical art. Thematically, “The Way from Kruty” referred to one of the most tragic battles of the defense of the Ukrainian State against the Bolshevik horde — the battle near Kruty in January 1918. The idea of the play is the spiritual awakening of ordinary Ukrainians, replenishment of the ranks of fighters for a liberated Ukraine with people of various social strata. The search for techniques that would effectively appeal to the viewer's consciousness prompted Chyrskyi to use dramatic means indicative of early German expressionist plays. It is less about the philosophical basis of German expressionism but rather about the expressionistic elements of the poetics of German drama of the beginning of the 20th century. In the analysed paper, the main expressionist elements are an idealistic depiction of reality; replacing the proper names of the characters with generalised names; creation of an atmosphere close to a dream-delusion; the presence of a symbol, a mystical element and visual effects that gave the stage setting a sense of mystery; minimalist props with elements of whimsy, unfolding of the main action in the form of passionate dialogue, etc. The main task of the dramatic dialogue, which was based on a heroic episode of Ukrainian history of the 20th century and was successful on the Prague stage, was to elevate the spirit of the audience, to inspire them with specific heroics and to encourage them to further fight for the Ukrainian State.

Ритмы и вариации: еще раз о поэтике «византийских легенд» Н. С. Лескова

The article explores the rhythm in Nikolai Leskov’s pieces that form the Prologue («Byzantium») Legends. The rhythmically structured fragments not only define the archaic, dramatic style of the text, but outline the psychology of the characters. The compositional and narrative rhythm testifies to the similarity of N. Leskov’s legends to Herodias and other legends by Gustav Flaubert.

An Expressionist Painter of the Fourteenth Century

Theophanes the Greek was one of the well-known artists of exceptional personality who lived in the second half of the 14th century. His talent stood out on account of the expressionist manner in which he portrayed his art creations and their impact on the school of Russian religious painting. His artistic talent, “swift brush” painting manner and life adventure can be compared with those of Doménikos Theotokópoulos (El Greco), another famous Greek painter, who brought the Cretan dramatic and expressionistic style to the West, influencing the Spanish Renaissance two hundred years after Theophanes. The artistic heritage of Theophanes stands between the short vibrant period of the Palaeologan Renaissance when the Byzantine Empire went through a terminal crisis, and the European Proto-Italian Renaissance. The artist seized the opportunity to unleash his creative work in the ancient Russian cities, unfolding his talent in the creation of large mural paintings. Characterized by his contemporaries as “Theophanes the Greek, icon painter and philosopher”, he enjoyed a high reputation in medieval Russian society. Present article questions Theophanes’ belonging to the hesychast movement and the attribution of the Muscovite icons and manuscripts to the painter. Considering the impact of Theophanes on Russian visual art, D. Talbot Rice stated: “It was thanks to the teaching of Greek immigrants like Theophanes that a sound foundation was established Russian painting, and it was on this basis that local styles were founded.” And it was in the Russian principalities that Theophanes developed his very distinctive style, enjoying carte blanche from the princes and boyars (aristocracy) to apply his creativity in various domains.

A “Brilliant Talk” and a “Stirring Appeal”: How Women of Grand Rapids, Michigan, Built an Audience for the Ballets Russes in 1917

A “Brilliant Talk” and a “Stirring Appeal”: How Women of Grand Rapids, Michigan, Built an Audience for the Ballets Russes in 1917

Family Disintegration in What the Butler Saw by Joe Orton

Joe Orton’s farcical play What the Butler Saw (1967) presents a group of characters of middle-class background who find themselves in unexpected situations throughout the play. These unanticipated situations lead these characters, namely Dr. Prentice, Mrs. Prentice, Geraldine, and Nicholas, to go beyond the predestined limits of their traditional roles that may be regarded as suitable for their class. This breach reveals numerous farcical circumstances which disclose how the portrayed family gradually disintegrates because there no longer exists a strong emotional bond between them, as they look for emotional connection outside their lives. In this respect, various issues and themes such as the illustration of family, incestuous relationship, the use and misuse of scientific knowledge, the connection between psychiatry and insanity, the problematic projection of gender, and a critique of middle-class manners play a highly significant role in Orton’s text, as they reveal the intricate troublesome relationship between the depicted family members. In this article, therefore, brief biographical information about Joe Orton will be first given; his dramatic style will be briefly explained, and family disintegration will be discussed through relevant references to Orton’s What the Butler saw as well as numerous relevant secondary sources.

Persuasive Communication Techniques of Beauty Vlogger About Colorism on YouTube Channel

Lifni Sanders is a beauty vlogger who has an anti-colorism image on her YouTube channel 'Livjunkie'. Therefore, the researcher aims to describe persuasive communication techniques with the concept of Robert W Norton's communication style in the period 2019-2020. This study is a qualitative research and uses the semiotic analysis method of Roland Barthes. The results revealed that Lifni Sanders has communication techniques including: red herring technique, pay off idea technique, cognitive dissonance technique (contradictory), empathy, association technique. Communication style of Lifni Sanders has several communication styles including: dominant style, dramatic style, animation style, impression leaving style, relaxed style, attractive style, open style, understated style

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by the famous Swiss literary scholar Emil Staiger and to present it to Ukrainian explorers for the first time. Due to the complex application of the historical-cultural, comparative, descriptive methods, the methods of linguistic-stylistic and figurative analysis, the authentic change of the traditional angle of interpretation has been identified: it eliminates the motif of the ancestral curse based on the Theban cycle of myths and shifts the emphasis on personal guilt. It is established that Staiger departs from the traditional explanation of category ??????? as �error� and interprets it as a deep cause of offense, which lies within ourselves, but is devoid of malice, which weighs all the consequences and pursues a specific goal. A �plastic Greek� perceives his guilt as destiny, and destiny differs from conscious activity. It is noted that the researcher distinguishes the work of Sophocles from a number of �tragedies of fate�, recognizing the oracle as a core element of dramatic tension creation. Moreover, the oracle is not interpreted as a symbol of blind reign of eternal fate, but only as a sign of infinite divine knowledge. Thus, the central conflict of the tragedy is the antagonism between Apollo and Oedipus, the god and the mortal: it is not a matter of showing that everything on earth is predetermined, but of distinguishing between infallible knowledge of god and limited knowledge of man and illustrating the gap between man and god. �Know thyself!� � know that you are a human, not a god � this famous aphorism can be considered the idea of tragedy, and Oedipus is the embodiment of the finiteness of human knowledge. It is stated that due to the motive of the court the whole tragedy is perceived as a model of Staiger�s dramatic style (observability of the action, brief description of the characters, conciseness of language). It is notable that the role of judge takes the protagonist himself and he finds the criminal in himself. So the movement returns to its starting point: the circle composition in �Oedipus the King� becomes a loop that is tightened around the neck of the hero. The interpreter names it �tragic irony�, which permeates the semantic outline of the work (especially the double meaning of the words of the characters) and it is manifested in each plot (the man himself fulfils the prophecy, trying hard to divert it). Staiger`s distinctive interpretation of the problem of freedom is emphasized: no matter how deceived Oedipus goes, he comes to admit his guilt and realize the need for punishment, and in the choice of punishment lies his freedom. Ultimately, Oedipus must be defeated in order to preserve the truth of the divine word. However, wilful acceptance of punishment is not a reconciliation of freedom (the hero fought against his fate) and necessity (he lost the fight against fate) in the classical sense, but rather it is related to the tragic emotions, which cause admiration.

Reinar después de morir by Luis Vélez de Guevara

Reviewed by: Reinar después de morir by Luis Vélez de Guevara Esther Fernández REINAR DESPUÉS DE MORIR. By Luis Vélez de Guevara. Directed by Ignacio García and Pepa Pedroche. Compañía Nacional de Teatro Clásico/Companhia Teatro de Almada, Teatro de la Comedia, Madrid. January 10, 2020. Reference to a corpse queen triggers a call-back to Tim Burton’s stop-motion animated black comedy Corpse Bride (2005). Rather than revisiting the tale of Emily and her incorporeal consort, we may draw into focus a lesser known figure in the pantheon of the macabre, Inés de Castro (1325–55), whose historical execution has taken on a life of its own as a Portuguese legend that continues to resonate today. Prince Pedro of Portugal’s lover, Inés de Castro, was murdered by order of King Alonso, Pedro’s father, in the interest of safeguarding the state. As legend has it, upon assuming the throne in 1357, Don Pedro nevertheless declared Inés the queen of Portugal, exhumed her body, and forced his courtiers to swear allegiance to the corpse queen. Our penchant for the intricacies of forbidden love and the macabre have given this legend a rich afterlife on the stage since the eighteenth century. Niccolò Antonio Zingarelli’s and Giuseppe Persiani’s operas of 1798 and 1835, respectively, or plays such as Henry de Montherlant’s La reine morte (The dead queen, 1942) and Alejandro Casona’s Corona de amor y muerte (Crown of love and death, 1955) are proof of the story’s enduring popularity. However, Spanish playwright Luis Vélez de Guevara (1579–1644) first dramatized this tragedy in Reinar después de morir (To reign after death, c. 1635). Reinar después de morir clings to the elements that characterize the dramatic style of Vélez de Guevara. It is historically grounded; it has macabre elements; and its metaphors distil a complex, fantastic imaginary. Yet, Reinar, which is considered the most Portuguese of the Spanish early modern plays, also synthesizes Iberian culture. Many Spanish dramatic works of the time used Portuguese characters and themes (and vice versa), creating a rich cultural fluidity between the two countries. The Portuguese melancholic feeling of the saudade, which becomes concretized in the very geography of the play, is best captured in Reinar. If defining Portugalidade (being Portuguese) on the page is already difficult due to the slippery nature of the concept, capturing its meaning onstage and giving it a palpable form presents its own set of problems in our modern times. Nevertheless, the production directed by Ignacio García and Pepa Pedroche managed to deploy Portugalidade in all its grandeur and pathos. This culturally diverse and intricate background was exquisitely emphasized in the binational co-production between the Compañía Nacional de Teatro Clásico and the Companhia Teatro de Almada that also premiered a few days earlier in Portugal, translated into Portuguese by Nuno Júdice and performed by Portuguese actors. From their seats, audience members were immersed in a multisensory experience where the romanticized Portugalidade became a social and poetic microcosm, functioning in the play as a Portuguese version of the Forest of Arden. Capitalizing on this theme, set designer José Manuel Castanheira, inspired by Hieronymus Bosch’s Ascent into the Empyrean (c.1480) and the dome of the Church of Our Lady of Mercy in Lisbon, designed a concave stage that allowed actors to slide between positions on set, mimicking the ease with which characters slide between the conflicting feelings of passion and duty—without realizing that they are trapped in a centrifugal tunnel. The constant pendular movement of the actors imbued the performance with Sisyphean fatigue, as the slow pace of saudade crept into the topsy-turvy world. [End Page 97] Click for larger view View full resolution Nurse (María José Alfonso), Blanca de Navarra (Manuela Velasco), and Inés de Castro (Lara Grube) (l-r) in Reinar después de morir. (Photo: Sergio Parra, courtesy of Compañía Nacional de Teatro Clásico.) [End Page 98] Click for larger view View full resolution Blanca de Navarra (Manuela Velasco), King Alonso (Chema de Miguel), Don Pedro (David...

The influence of Rembrandt on composition of image in movies

There is no doubt that the Dutch plastic artist Rembrandt had his style separate from the artists of his time, and he influenced almost every field of Dutch art, and he was inspired by artists around the world and this influence was repeated and continued in no way in the history of art, and this influence extended until The present time includes the fields of arts, especially in cinema. For filmmakers, as well as generations of art enthusiasts, Rembrandt is the master of light and shadow, and his style of light distribution in painting has influenced many photographers and lighting designers in the history of cinema. In a study conducted to clarify the relationship between plastic art (photography and cinema or motion picture), some critics and filmmakers believed that without the paintings of the Dutch master of photography in the seventeenth century, many masterpieces of cinematography would not exist. Since the beginning of the fifteenth century, artists have used light as if it were a living element, invoking it and using it persuasively to create their own vision, light and shadow, essential components of the art of photography and cinematography, were given for the first time their true freedom by the Dutch artist Rembrandt and expanded with enthusiasm in The world of imagination, and his art was a source of inspiration for filmmakers in building the composition of the shots and the freedom of movement was given to the camera poetically through it, and he set the standard of the camera that it should be. Thus, Rembrandt, with his dramatic style, has inspired many generations in the history of art, and his influence extended to include many different branches of art, not just plastic art.

Brecht’in epik tiyatrosunun Caryl Churchill'in Mad Forest ve Sarah Kane'in Cleansed adlı oyunlarında yansımaları

Caryl Churchill’s plays thematically embody elements of many -isms such as feminism, sexism, capitalism, and socialism, labeling her dramaturgy as an eclectic combination of social philosophies and political ideologies. Although genuinely creative and original in her writing and theatrical practices, Caryl Churchill does not refrain from making use of preceding European theatrical theory, practice, and culture. In this sense, she is a playwright who benefits considerably from the thematic and technical aspects of the Brechtian epic theatre, which can be observed in her Mad Forest. Sarah Kane, on the other hand, with her experimental dramaturgy that stretches and twists features of realism and naturalism into new post-dramatic forms, is no less different from her predecessor Caryl Churchill in terms of embracing challenging, confrontational ideas and reflecting them in her plays. Notwithstanding with her openness to novel dramatic styles, Sarah Kane, too, acknowledges earlier dramatic aesthetics as seen in her Phaedra’s Love, which is an adaptation of the classical Roman playwright Seneca’s Phaedra. Likewise, it can be observed that Sarah Kane utilizes certain features of the Brechtian epic theater in her Cleansed. Considering these, this article studies how and to what extent Caryl Churchill and Sarah Kane maintain the Brechtian dramatic elements in their Mad Forest and Cleansed, respectively. By examining this tripartite interaction among Bertolt Brecht, Caryl Churchill and Sarah Kane, the study also tries to reinterpret the dramatic relations among these seemingly distant playwrights of different generations.

On the Construction of Strange Space in Stage Sets

In this article, I will explain the definition of the singular space in a stage setting as I understand, and explain the importance of the singular effect produced by the stage setting construction space in the field of stage design. The dramatic style of the theater,and the singular effects of the construction space may bring practical significance to the theater.

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Recent Articles* Joanna Maciulewicz, Adam Mickiewicz, Philip Smallwood, Ana González-Rivas Fernández, Alexander Gourlay, Hannah Jorgenson, and Vivian Papp BEHN Gammanpila, S. S. "'Its Only Test is in Performance': Aphra Behn and the Modern London Stage," Women's Writing, 23.3 (2016), 298–311. Behn's style of drama has presented twenty-first-century readers with some problems of understanding—the words, the situations, the politics, the history—and those staging her plays can meet with displeasure from sharp critics. Gammanpila examines a broad range of productions from the 1980s through 2005 by wellknown theaters and casts as well as by small companies, often performed in warehouses or pubs. She impressively examines many reviews, revealing that most critics failed to understand what Behn was trying to do. Gammanpila's article valuably surveys Behn's plays produced not just in London but around England. Unfortunately, a large number of productions are identified and then written off in one sentence, usually one vaguely summarizing the critique. Thus if one critic observes that the cast of a particular Rover lacks a certain "verbal command," the reader never learns the meaning of "verbal command." If another critic suggests that "It would be good, however, to see a production of one of Behn's plays that subverts seventeenthcentury theatrical and social conventions, rather than playing to it," we are never told what a subversion of a subversive play would look like. (Behn's plays already are intensely subversive in their politics, their gendered confrontations, their mockery of the rising moneyed middle class, and the commodification and objectification of women.) However, for anyone looking for an overview of theatrical reviews and thinking about staging a Behn play, this essay is a good start. Ha, Inhye. "Cosmic Blindness, Comic Blindness: The Lunar Imagination and Women's Place in Aphra Behn's Emperor of the Moon," English Language and Literature (Yŏngŏ Yŏngmunhak), 62.3 (2016), 423–440. Ha's simple and defendable thesis, that Behn's Emperor of the Moon refocuses the audience's attention to earth and therein to "a woman's place circumscribed by patriarchal order," has been addressed recently by Paula Backscheider and by Al Coppola. (This essay also seeks to explore the spatial importance of Baliardo's house, Scaramouch's apothecary shop, and the [End Page 145] connection between moon and earth.) While nothing much is said about the house or the lunary and sublunary interconnections, Ha presents Scaramouch's fake apothecary shop in III.2 as emblematic of chemical and pharmaceutical explorations, referencing a study of an eighteenth-century German apothecary to support this position. Yet this scene devolves into twisted alchemical terms and absurd mock-Latin references to excrement, and ultimately there is nothing scientific about Scaramouch's theatrically painted bottles and shelves. The essay hoped to explore three spaces to show the subversion of the lunar festival and to "glimpse a moment of women's liberation," but loses its way. Hargrave, Jocelyn. "Aphra Behn: Cultural Translator and Editorial Intermediary," Cerœ: An Australasian Journal of Medieval and Early Modern Studies, 4 (2017), 1–31. Setting out to discuss Behn as "cultural translator and editorial intermediary," Hargrave begins with La Malinche as a cultural translator. This confuses, as La Malinche is often suggested as a model in Oroonoko for Byam's Native American mistress, who saves Byam's life after he is wounded in the battle between slaves and colonists. La Malinche is not again mentioned in the article. The essay addresses cultural translation by comparing Jean-Baptiste de Brilhac's original novel Agnes de Castro with English translations by Peter Bellon and by Aphra Behn, both published in May 1688. However, after comparing five short quotations from both translations to the original, Hargrave instead examines Behn's use of italic and Roman fonts and of punctuation, quotation marks, and commas. Anyone grappling with the original printed pages of Behn's works knows their erratic condition. Editors have struggled with errant commas, unclosed parentheticals, colons in place of full stops, but with no foul papers we have no idea what Behn sent to the printer. An argument for cultural translation or editorial mediation based...