Dramatic Texts Research Articles

Assessment strategy based on authentic assessment to identify high school students' ability in assessing drama texts and drama performances

Drama learning plays an important role in training students to sharpen their expressive abilities in performing arts. This study aims to develop and implement an authentic assessment-based assessment strategy to identify high school students' ability to assess drama texts and drama performances. The research method used is research and development (R&D) which involves several stages, namely needs analysis, instrument design, and assessment model development. The R&D model used in this research is the ADDIE model (Analysis-Design-Develop-Implement-Evaluate). The results showed that the developed authentic assessment model can improve students' ability to assess drama texts and performances. Teachers who use this model find it helpful in developing more effective and comprehensive assessment instruments. In addition, students showed improvement in critical thinking and evaluation skills, as well as the ability to identify and assess important elements in drama and performance texts. This study suggests that the implementation of authentic assessment strategies can make a positive contribution towards improving the quality of assessment in a secondary school setting.

The Spatial-Temporal Canvas That We Call the Stage: Text and Performance in Final Solutions

The article studies the significance and function of stage directions in Mahesh Dattani’s Final Solutions (1993). The stage directions propel the play-text to transcend into a performative script. Scholars Jisha Menon (2013) and Aparna Dharwadker (2005) commend Dattani’s ‘innovative’ dramaturgy for realistically representing the urban-middle-class home along with the complex social issues pervading this social milieu. This article argues for their assertion and extends their studies by examining the source of Dattani’s inventive stagecraft – his stage directions. It argues that Dattani challenges the label of dramatic text through his stage construction and stage directions. These directions add theatricality and render a visual appeal to the written text, which acts as a ‘drama’ for the students and critics of literature and a ‘fabel’ or a blueprint for other directors. The ostension of multiple levels of space-time in the text through stage directions reifies the mise-en-scene in the readers’ minds and also foregrounds Dattani’s reformist method of creating a conflict in his readers/audiences’ minds. Using a comparative analysis of the stage directions in the play-text by Dattani and a stage production by the Delhi-based Asmita Theatre under the direction of Arvind Gaur, it foregrounds Dattani’s extravagant and complex construction of the stage. It studies his distinct usage of the stage as a ‘spatial-temporal’ entity and establishes that Dattani’s stage directions are quintessential to his reformist agendas.

A model for queer drama translation analysis

ABSTRACT Drama, queer theory, and translation studies intersect in their search for providing a voice in the target culture minding correspondences and preventing intrusions that might otherwise render a censored version. To date, there are few instruments for the descriptive analysis of drama translation, and the most specific model of analysis for queer textualities restricts its scope to the translation of camp, with attention on pivotal concepts such as the right to identity, access to knowledge, visibility, and freedom of expression. However, there is no broad yet fitting instrument for the study of LGBTQ+ drama from a queer, political perspective. This article offers a much-needed paradigm that considers queer and LGBT+ theatre from the point of view of queer translation in a context of farther-reaching queer dramatic texts in translation.

Theatre as a space of empowerment and emphasis of voices

The theatre looks out from both directions. On the one hand, the artist’s (director’s) gaze determines our (spectator’s) gaze, and on the other hand, there is the question of whether the artist’s gaze is able to see through our eyes and, of course, whose eyes they are. Are they created by the theatre itself – in the name of all its direct creators and thus in its own image and according to its own wishes, or is ‘their studio’ also open to those who come to the theatre from the substance itself – from the living substance of the dramatic texts? So also to those who find it difficult to afford a theatre ticket. Is a theatre that does not look backwards, then, still credible as a universal or legitimate representation of the world and its social relations?

Роль нарратива в новейшей русской драматургии

The research aims to answer the question: why is the role of storytelling increasing in the plays of young authors of the 2020s, rather than the showing that is appropriate for drama? The paper examines the genesis of drama narrativization in the 1990s-2010s (in the plays of Yevgeny Grishkovets, Nikolay Kolyada, Oleg Bogayev, etc.), traces the history of the issue in literary studies and criticism, and conducts a textual analysis of Polina Korotych’s play “Street” (2022) using the methods of modern narratology. The scientific novelty of the research lies in determining the specifics of narrativity in contemporary drama. The theoretical significance of the work is in applying the narratological analysis methodology to a modern dramatic text. As a result, it was found that contemporary drama often moves away from both showing-performativity and narrative as plot. The new narrativity of contemporary drama manifests itself in the fact that the play often turns into a narrative act from the perspective of the author or the characters. The events in the plays of Yevgeny Grishkovets, Dmitry Danilov, Polina Korotych, Olga Potapova, etc. become mental, not physical actions. The focus shifts to the verbalization of narration; the intrigue of the word becomes central in the reception of such plays. Similar phenomena are observed in other genres of contemporary literature, but drama is at the forefront of the modern literary process.

The Transformation of Senkatana

The research question in this article is to trace how the legend of Senkatana was transformed first into a drama and then into a tragedy. The methodology that is applied is to compare the salient features of the legend, the drama, and then the tragedy. An overarching finding is that the playwright developed a number of transformational processes in order to transform the essence of the plot, the number and line-up of characters as well as the drama’s structure. A second overarching finding concerns the medium of delivery where an originally orally narrated legend is transformed into a drama text written for performance on a stage before an audience. The third finding applies to the transformation of the character of Senkatana. This happens on a transcendental level when the legendary hero and king dies and becomes a deity after death—an instance of transformation that leads to transfiguration. A concluding finding is that several contemporary contextual readings of Mofokeng’s classic are possible.

Exploring authorship and ownership of plays at the time of William Shakespeare’s First Folio

ABSTRACT In this this article I evaluate how authorship of theatre occurred in the Elizabethan and Jacobean periods. I explore whether individual playwrights such as William Shakespeare were viewed as authors, and thus owners, of plays at this time. I analyse the role of the Stationers’ Company as print monopolists, and the role of Elizabethan theatre companies, who took ownership of scripts for performance purposes. I examine the impact of the publication of the First Folio. I note that the publishing syndicate behind the First Folio, led by Shakespeare’s friends John Heminges and Henry Condell, had to obtain the print rights for several plays, not from Shakespeare’s estate, but from the various Stationers who had acquired publishing rights while Shakespeare was alive. Therefore, the First Folio stands as an early example, even before statutory copyright existed, of a book created via what we now describe as the ‘clearing’ of copyright licences. A consequence of the First Folio was not just the emergence of Shakespeare as the English author-figure par excellence; the First Folio coincided with a rising legal expectation that authors should be owners of dramatic texts under copyright law. Throughout the seventeenth century and into the early eighteenth century I mark how tensions between the market power of the Stationers’ Company and emerging recognition of the author’s literary property led to the first British copyright statute: the Statute of Anne in 1710.

Examining Theories at Work: Speech Acts, Implicatures and Politeness in a Pragmastylistic Analysis of Anton Chekhov’s The Bear

Through a descriptive qualitative method, Anton Chekhov’s The Bear is examined for its use of speech acts, implicatures, and politeness. To surface the said theories, a stylistic analysis is conducted, following the principles of pragma-stylistics. Pragmastylistics is used in analyzing a literary piece towards arriving at particular themes, and in which the focus of analysis is how a speaker or writer chooses to realize their speech act in consideration of the intended meaning and effect of which towards an audience. The subject of the following analysis is a one-act play considered to be a farcical comedy depicting the story of a woman mourning her husband’s recent death, amidst which she encounters and eventually falls in love with her deceased husband’s creditor. The analyses focused on the employment of the pragmatic theories of speech acts, cooperative principles and implicatures, and politeness. The paper attempted ultimately to show through an analysis of dramatic text how words could mean differently or even have meanings at all when put into context.

Multi-Language Translated Drama Scripts as Reference Information for Actors

Background: Drama texts translated into various languages ​​are a form of communication across linguistic boundaries and a window that reveals the richness of diverse cultures. For actors, engaging in the performance of a multilingual script provides an incredible opportunity to explore the nuanced complexities of different cultures. Actors learn new words and soak up the soul of a culture that may be very different. Purpose: The main aim of this research is to (1) find out the extent to which language variations are used in translated drama scripts and (2) the extent to which language variations influence the way actors understand and portray characters. Design and methods: This research uses a content analysis method on intralingually translated drama texts sourced from the Matara Production archives. Results: The results of this research reveal (1) that three languages ​​are used (English, Indonesian and Sundanese) and (2) that multiple languages ​​are used to show narrative diversity, subtlety of relationships in roles and cultural context. The importance of using regional languages ​​in specific cultural contexts becomes clear, as in the depiction of the local ghost, Kuntilanak, which adds another layer of cultural richness. It can be concluded; this research highlights the significance of the use of multiple languages ​​in the expression and communication of actors. Multilingualism allows actors to convey characters with greater depth, creating an immediate bond with multilingual audiences. Language is not only a means of communication but also a key holder of cultural identity, bringing to life cultural aspects that are difficult to explain in words.

Pengaruh Media Pembelajaran Terhadap Kemandirian Belajar dan Keterampilan Menulis Teks Drama

Students' ability in writing drama text is influenced by several factors that occur in learning. The purpose of the study was to determine the effect of learning media and students' independence in learning on the skills of writing drama texts of students in class XI of SMAN 21 East Jakarta. This research used experimental method. The population in this study were all students of class XI of SMAN 21 East Jakarta. The research sample was conducted using Purposive Sampling technique as many as 60 students who were divided into two groups, where 30 students learned using family movie drama media and the other 30 people learned using conventional media. The instruments used in this study are: Learning independence questionnaire and drama text writing skill test. The results showed that the use of family film drama media gave better results in the aspects of learning independence and drama text writing skills. The use of conventional media makes students learn through several stages or indirectly. The use of family film drama media is recommended in learning to write drama texts because it can provide a direct picture and increase students' learning independence and motivation

The Structure of the Place and Its Transformations in TV Drama

The diversity of narrative methods has opened up new horizons in the process of recounting events and entering into narrative sequences, after which the dramatic text follows varying levels in the movement of dramatic events. This overlap in the narrative has made the artworker have multiple options in shaping his graphic structure, beginning with the formation of the logical introduction, the appearance of the actor, and leading to conflict and confrontation and the creation of tension and excitement. These methods, the multiple reading of the dramatic text, the formation of events, the building of a vision, the treatment, the development of excretive solutions and the creation of a virtual world, run in many strange and fantasi places, for those worlds, and the transformations of the dramatic event accompanied by a shift in space and time. Based on the movement of the operator, the search for its objective, the overlapping of the narrative systems, and its use in accordance with the narrative sequences created by the artworkmaker, the recipient is able to keep track of the events and expand the narrative of the events, as determined by the artwork industry, thus creating a beautiful response and arriving at the composition of the meaning of the visual output. Therefore, the problem of research can be formulated with the following question: What are the ways in which the dramatic narrative and spatial intuitions can be reflected in the output? The aim of the research is to detect dramatic robotics and spatial structure transformations in visual output.

Pengaruh Strategi Pembelajaran PBK (Proyek Belajar Karakter) Terhadap Keterampilan Menulis Teks Drama Siswa Kelas XI SMK Swasta Prama Artha Bandar Huluan

This research aims to, (1) To analyze students’ skills in writing drama texts using the Character Learning Project strategy for class XI students at Prama Artha Bandar Huluan Private Vocational School. (2) To analyze students’ skills in writing drama texts without using the Character Learning Project strategy for class XI students at Prama Artha Bandar Huluan Private Vocational School. (3) To analyze the influence of the Character Learning Project strategy on the drama text writing skills of Prama Artha Bandar Huluan Private Vocational School class students. The population in this study were class , and writing linguistic rules for drama texts. The method used in this research is a two group posttest design. Data analysis techniques use analysis prerequisite tests, normality tests, and hypothesis tests. The research results in the control class obtained an average of 71.58 and were included in the sufficient category. Meanwhile, the research results used the Character Learning Project strategy 82.19 and were included in the very good category. Through hypothesis testing, namely 2.02 7.57, it can be concluded that there is a significant influence from the use of the Character Learning Project strategy on the Drama Text Writing Skills of Class XI Students of Prama Artha Bandar Huluan Private Vocational School.

A Pragmatic Analysis of Conversational Implicatures in English Drama and their Role in Teaching Critical Literacy

This study aims to explore the role of conversational implicatures in English drama in developing students’ critical literacy. It identified conversational implicatures conveyed by characters of the selected drama texts, provided possible interpretations of the implicatures basing on Grice’s Cooperative Principle maxims, and critically analyzed the role of conversational implicatures in English drama in developing students’ critical literacy. The data were collected from the implicatures conveyed by the characters of two selected drama texts. These are ‘Family Abuse’ by Bernard Mersier and ‘The Edge’ by Paul Symonloe. Grice’s pragmatic theory of Cooperative Principle and its maxims were used to identify and interpret conversational implicatures in the selected drama texts. Forty-two (42) conversational implicatures were identified from these texts. These implicatures were categorized into types basing on the four conversational maxims, and each conversational implicature was taken as data. Using Grice’s interpretive model and the social context of the drama, what the characters implied by their utterances were explained together with the reasons for the implicatures. The Luke and Freebody’s four resources model of critical literacy was then used to study the role of conversational implicatures in English drama in developing students’ critical literacy. The study concluded that conversational implicatures in English drama develop students’ critical literacy by enabling them to study a drama text from a social angle and evaluate the social aspects that may have influenced the meaning of the characters ‘utterances. Therefore, it was suggested that drama texts should be used in language teaching and learning as they ease the teaching of conversational implicatures which can foster the development of students’ critical literacy.

Biblical Names in Selected Plays of Wole Soyinka: A lexico-semantic Study

This study interrogates the use of biblical names as charactonyms in selected plays of Wole Soyinka, the first Nobel laureate in Africa, with the aim of unearthing their morphological process and sociolinguistic imports in relation to the Holy Bible. The primary data from which extracts were made to illustrate the discussion were four drama texts: The Strong Breed (1963), The Road (1965), Death and the King’s Horseman (1975), King Baabu (2002)- all tragedies, by the same author. The theoretical frameworks adopted were Yule’s (1985) morphological taxonomy and Said’s (1978) postcolonialism. Ten names inundated with biblical elements were purposively selected across-the-board and analysed using the theoretical frameworks. Findings indicated that Soyinka inundated his works with analogy (60%) by deploying six names (Ifada, Sunma, Samson, Simon Pilkings, Olunde, Joseph) patterned after the Holy Bible to illustrate didactic lesson and messianic scapegoatism theme(s). Furthermore, the study revealed that the playwright deployed clipping (20%) through the names Maariya and Tikim, to indicate popular culture among African youth. Finally, the playwright uses biblical names in his works to blend his Christian and traditional background, and as a means of taking indirect swipe at the issue of African complex dispositions to the colonial encounter and its legacies. The work is a contribution to onomastic scholarship in relation to the Holy Bible and African-contact literary texts.

Development of A Drama Text Writing Module Based On Character Education for Students Junior High School

This research aims to produce a drama text writing module based on character education for students at SMP Negeri 1 Batang Angkola. The research method used is the Research and Development research method which refers to the Borg and Gall model. The process of developing teaching materials for writing drama texts based on character education is carried out in three stages, namely the preliminary study stage, initial product development and product testing. The results of material expert validation on content suitability obtained an average of 88% in the very good category, the presentation feasibility aspect obtained an average of 84.33% in the very good category and the language assessment obtained an average of 82.5% in the very good category. for graphic assessment by design experts, an average of 80.08% was obtained in the good category. Individual trials obtained an average percentage of 79.77 in the "good" category. Small group trials obtained an average percentage of 85.96 in the "very good" category. Limited field trials obtained an average percentage of 91.87 in the "very good" category. Based on these data, teaching materials that are suitable for teachers and students to use in learning are obtained. Teaching materials for writing drama texts based on character education were declared effective in generating student activity and learning outcomes. This is proven by tests on student learning outcomes in writing drama texts. At the pretest the average was 69 and at the posttest the average was 80. The difference between the pretest and the posttest was 11%, which indicated that learning using teaching materials for writing drama texts based on character education was better than before.

Scénická poznámka středověkého chrámového dramatu z hlediska obsahu a formy. Úvod do problematiky

The stage directions of medieval plays, the so-called rubrics, represent a unique and integral part of the dramatic text which is most often examined for the purpose of interpreting and reconstructing the staging aspect of a concrete play or general staging forms and conventions of the period theatre. Somewhat less attention has been paid to formal and stylistic aspects of rubrics, their language, purpose and their diverse functions within the text of the medieval play, their relation to the dialogue, and so on. The study presents the content, style and specific form of the rubrics of medieval Church drama and outlines possible ways of their interpretation with the help of modern theories and classification of stage directions in a drama. It is based on the previous extensive analyses of Latin rubrics of more than two hundred dramatic texts of medieval Church plays, consisting mostly of the Latin (or bilingual) liturgical plays staged within the close connection to liturgy in European monasteries and churches during the whole Middle Ages (i. e. Easter and Christmas drama, liturgical dramatizations connected to Marian feasts) and also several semi-liturgical or extra-liturgical religious plays.

PERFORMANCE AS A COMMUNICATIVE STRATEGY OF MODERN DRAMA

Emphasized demonstrativeness, which is embodied and manifested in various spheres of human life, is a performance. Accordingly, a performative text is a self-representative text actualized in the process of communication precisely through action, a way of thinking, a director’s vision, and acting. The visual component of the text is defined as a constituent component of the poetics of the work, a gender-genre marker, according to the elements of the external composition. The usual classical image of a dramatic text in modern Ukrainian playwrights takes on the features of epic genres, which represent a different type and way of thinking, combining the narrator and the character in one person. Performance as a communicative strategy of modern Ukrainian drama is ensured by the transition to the narrative non-linearity of the character-narrative organization of the dialogue, the retrospective organization of the action, and the construction of the monologue based on associations of events, intimate-personal connections and perceptions, where the monologue is the real action of the character. The demonstrativeness and creolized nature of such text gives us the right to define such texts as “action art”.

Loneliness and Humour in Azi̇z Nesi̇n and Neil Simon: a comparative study

This comparative study explores how Aziz Nesin and Neil Simon, representing different literary canons, treat and reflect upon the incorporation of loneliness and humour in Hadi Öldürsene Canikom! [Let’s Kill Me Honey!] (1970) and The Odd Couple (1965), respectively. Both playwrights examine the loneliness that has caught urbanised and atomised humans in two metropolises: Istanbul and New York. Simon deals with the values, concerns, lifestyles, aspirations and problems of middle-class people in his plays with domestic realism. In contrast, Nesin’s plays explore lower-working-class people’s values, concerns and struggles. Moreover, it focuses on how Nesin and Simon employ humour, as a Lingua Franca of comedy, in their works. The study emphasises the two playwrights’ incorporation of the humour theories of superiority, incongruity and relief into the selected dramatic texts. The interactions between the characters in the two plays are analysed according to the three traditional humour theories by assuming a discourse-analytic approach. The study has exhibited that in Hadi Öldürsene Canikom, all the humour theories have been explicitly observed. The humour largely stems from a case of mistaken identity, which creates incongruity. On the other hand, in The Odd Couple, humour is primarily evoked due to the incongruous characteristics of the roommates abandoned by their wives.

Analisis Pemanfaatan Aplikasi Tiktok Sebagai Media Pembelajaran Teks Drama

Drama is a work of art composed of dialogue containing stories or events involving conflict between characters. Learning drama texts is acting or staging drama. Utilizing the Tik Tok application as a learning medium to demonstrate drama texts is one way to increase teacher creativity in utilizing the latest learning media in accordance with current developments as well as increasing students' creativity and interest in learning in following the ongoing learning process. This research is a qualitative descriptive study with the subject of class VIII students at SMP PAB 8 Sampali. The research results show that 1) the Tik Tok application can be a learning medium to support the learning process, 2) the Tik Tok application as a learning medium demonstrating drama texts gets a positive response from students. The conclusion of this research is that the Tik Tok application is an application that can be used as a learning medium in the learning process and this application also received a positive response from students regarding its use as a learning medium for demonstrating drama texts.

LANGUAGE POLITENESS STRATEGY IN DRAMA "HARUT AND MARUT" BY ALI AHMAD BAKATSIR

Language is the primary communication tool that people always use. In increasingly modern developments, language is often used without considering the politeness established in communication. This is what makes researchers want to research language politeness strategies in drama. This research aims to examine the application of language strategies and politeness in the drama text "Harut and Marut" by Ali Ahmad Bakatsir. The research method used is a qualitative descriptive approach with data collection through the method of reading, taking notes, and then analyzing it. The results of this research reveal various strategies and principles of language politeness applied in the drama Harut and Marut. As for the results of research on language politeness strategies, according to Brown and Levinson in the drama Harut and Marut by Ali Ahmad Bakatsir, there are 12 types of Bald-on record strategies, eight negative politeness strategies, five positive politeness strategies, and 6 Bald-off record strategies. The implications of this research include the importance of language development in society and how to speak well to create an environment that pays attention to effective language politeness. The results of this research provide practical guidance for the community in improving quality and harmonious language communication..