Dramatic Texts Research Articles

The usage of the adjective słodki (sweet) in word combinations of historical and contemporary Polish

This article aims to confirm that modifications in meanings of words are associated with their collocations. This is based on an analysis performed on the collocations of the adjective ‘słodki’ [sweet]. The language material for the research was collected using historical and contemporary Polish language corpora: Korpus Dawnych Polskich Tekstów Dramatycznych (1772–1939) [The Corpus of Polish Drama Texts], PELCRA search engine for Narodowy Korpus Języka Polskiego[The National Corpus of Polish], and the Monco PL searching tool for websites. Analysing authentic examples of word combinations reveals the relationship between the adjective’s specific meaning and its collocates. The analysis also demonstrates that the collocation of ‘słodki’ has been changing over the eras of language use.

Analisis Tindak Tutur Ilokusi pada Teks Drama dalam Buku Bahasa Indonesia Kelas VIII Kurikulum 2013

This article examines drama texts that focus on pragmatic aspects, namely illocutionary speech acts. The texts studied are drama texts listed in the Indonesian Language Book Class VIII Curriculum 2013. The background of this article is based on the diversity of the application of illocutionary speech acts in the drama text. The purpose of this article is to analyze illocutionary speech acts in drama texts. The method used in this research uses a methodological approach, namely descriptive qualitative, and a theoretical approach, namely pragmatics. The data of this article consists of a group of sentences that form a paragraph taken from the drama text in the Indonesian Language Book Class VIII Curriculum 2013 and studied commensurate with the classification of illocutionary speech acts. The data source comes from the drama text in the Indonesian Language Book Class VIII Curriculum 2013. The techniques used are note-taking techniques and listening techniques or reading data which are data collection techniques. The data analysis technique in the research uses agih and padan techniques. Data presentation techniques with informal techniques. From the existing data, the conclusion is that there are several forms of speech acts in the drama text, namely: representative/assertive, expressive, commissive, directive, and declarative illocutionary speech acts contained in the drama text. This article has benefits for students because it can provide knowledge about the classification of illocutionary speech acts.

СЦЕНИЧЕСКИЕ НАРРАТИВЫ В ЮМОРИСТИЧЕСКОЙ ПЬЕСЕ А.П. ЧЕХОВА "МЕДВЕДЬ"

The article introduces the concept of “staged narrative”, which is defined as the story of a character in drama, recited by him at the moment of his presence on stage. The category is specified and divided into: intrigue-forming, autonomous and incorporated staged narratives. The research material is the text of A.P. Chekhov’s play “The Bear”. It is shown that the suggested category can be useful in study of composition, plot and the character system of a dramatic text. In the process of a comprehensive analysis of the characters’ narrative replicas, their characteristic worldviews, ethos and strategies of narrative are revealed, and the place of stage narratives for clarifying the characters of the storytelling heroes, as well as to define more convincingly the entire character system. The obtained conclusions can be extrapolated to Chekhov’s dramaturgy of the mature period, and the very technology of analyzing stage narratives can be successfully applied in the study of other drama texts.

Lever de rideau i akcja właściwa – „wyobrażone podróże” Kazimierza Brauna albo metateatralność

This article deals with the metatheatrical aspects in selected dramas by Kazimierz Braun – theatre practitioner and theorist. The point of departure for the analysis, as indicated by Patrice Pavis, is the basic ways in which metatheatricality reveals itself in a dramatic text: the unveiling of the second communication system (scene – spectator), usually hidden behind the text, the fabrication of theatrical situations, and the discursivisation of theatrical themes. The subject of the analysis is the interconnected dramas, Niewyznane zwierzenia [Unconfessed confidences] and Kwarantanna [Quarantine], in which the author creatively refers to the tradition of commedia dell’arte. The first of the plays, in the style of comedy by Pierre de Marivaux and described more precisely as a lever de rideau, is a reference to the old theatrical practice of preceding the main performance with another small stage form. The article discusses the piece as an overt play with convention, an ‘imaginary journey’ into the ephemeral world of improvised comedy, revealing the laws of theatre that govern it. The second play, set during the pandemic, becomes a pretext for questions about the future and the meaning of artistic creation. The analysis of both texts reveals a clash between the cultural image of conventional play and the theatricalisation of life in Marivaux’s time and the dystopian creation of a dehumanised reality, in which the multidimensional crisis can no longer be hidden under the mask of theatrical decoration and outward playfulness.

Employing the Traditional Character in the Dramatic Text: Analytical Study

Employing the Traditional Character in the Dramatic Text: Analytical Study

Limits of trauma / Possibilities of solidarity. Depiction of Belarusian events from 2020 and 2021 in contemporary Belarusian drama

What type of drama, and with what possibilities of expression, emerges in cultures constrained by power? How and what do playwrights who are forced to write anonymously and cannot count on seeing their plays performed in their own country write? Using the example of several dramatic texts by Belarussian contemporary playwrights (first of all we deal with the texts I will emerge from the forest, straighten my backbone, and it shall become my sword by noname67 and Half a Year by Victoria Koval) and theatrical projects that emerged in response to the suppressed protests in Belarus, the study presents the themes, motifs, and modes of narration of the events that will become part of the national history and memory as its traumatic experience.

Exploring the Totality of Knowledge in Drama Texts Translation: The Dilemma between Language and Culture

Exploring the Totality of Knowledge in Drama Texts Translation: The Dilemma between Language and Culture

The Cloak and the Clog: Tudor Portraiture and Sir Thomas Wyatt's "Myne owne John Poyntz"

Abstract: This essay explores how the visual culture of the portrait in the early Tudor period, epitomized by Hans Holbein's work, informed and intensified the self-examination, pictorialism, and textual play of Sir Thomas Wyatt's "epistolary satire" to John Pointz, a fellow courtier. Specifically, I argue that Wyatt's ambivalent self-description in this overtly self-righteous poem reimagines the memento mori —a visual reminder of vulnerability and death, often incorporated in portraiture—to deliberately undermine his Stoic self-assertion and to rebuke the reader's credulity.

The Potential Impact of Drama Text Translation on Audiovisual Translation

This article aims to demonstrate some potential similarities between the translation of drama texts and of audiovisual (AV) material, in particular subtitling. The study shows that major similar elements of playwriting and audiovisual scripts, such as the immediacy and direct contact with the audience/spectator and the use of dialogue, despite the difference in emphasis in a play on the dialogue of the characters and scenery and in a film on the dialogue and media. Situational, social and/or cultural contexts are important and existent in both the playtext and in the audiovisual text (particularly audiovisual descriptions, i.e. providing description of the image, sound and dialogue). The two genres of translation (drama and audiovisual texts) seem to share certain features which in turn help in the selection of potential subtitlers. The paper proposes that a successful translator of drama is more likely to succeed in audiovisual translation because of above similarities. Analysing excerpts from the Arabic translations of Shakespeare’s Julius Caesar both as playtext and as subtitled film, this study attempts to prove this premise or hypothesis, and its outcome can help to set up a potentially successful procedure for institutions and companies to train potential audiovisual translators who have previous experience in translating drama texts.

The Carolingian Epic in Traditional Liège Puppet Theatre: A Case Study of “Huon de Bordeaux” and “Quatre fils Aymon”

Although Carolingian epics are at the heart of the traditional Liège puppet repertoire, they remain a little explored field of research. This essay focuses on two epics, Les quatre fils Aymon and Huon de Bordeaux, which serve as case studies to examine the transition from narrative to dramatic text and its transposition for the regional puppet stage. Following the stories from the,annotated novels to the modern plays, the first part shows how the dramatisation of the prose text gradually developed. The second part examines the creation process of staging the story of the paladins of France from the point of view of regional identification, focusing on the role of Tchantchès, the typical character of the Liège puppet theatre.

The Two-Faced Mirror: The Aristotelian-Hegelian Structure of The Importance of Being Earnest by Oscar Wilde

For centuries, classical Greek drama was considered, by playwrights and theorists alike, the greatest influence on the structure of the dramatic text. One of its main features, for example, was the law of three units. Elaborated by Aristotle, the prescriptions oriented the plays to take place in a single place, within twenty-four hours, and exhibit a continuous plot, with a beginning, middle, and end. However, for thinkers such as Hegel, modern drama needed new approaches. In his writings, the German philosopher postulated that modern drama should exhibit narrative speed, and a certain dynamic quality, aligned with the internal and external conflicts of the characters. This article aims at analyzing the way in which Oscar Wilde’s The Importance of Being Earnest (1895), balanced both Aristotle and Hegel’s views by engendering a modern text with classical roots, while simultaneously embedding a comedy satirizing the customs of English society.

BETWEEN DOCUMENTARY AND POST-DOCUMENTARY: SEARCH VECTORS OF CONTEMPORARY UKRAINIAN DRAMA

The article discusses modern dramaturgical strategies, which consist in creating a transformative field by means of documentary/post-documentary. The purpose of the article is to demonstrate the search vectors of contemporary Ukrainian drama in the context of the connection between documentary and post-documentary aesthetics. "Post-documentary" becomes such a feature of liminal aesthetics, which manifests itself in its performative, active orientation to the understanding of reality through the document. The main features of post-documentary theater, identified by researchers, are the ability to bring to the fore the subject of the action, which records its own states "here and now" and turns the text into a performative event. With such an artistic strategy, the author realizes an approach to true reality, "preserves" the moment of creation, the fluid phase of "here and now", a unique moment that is valuable for its true imperfection. For a dramatic text, this can be realized in the inclusion of autobiographical material, in the metagenres of diary, notebook, letter, etc., and through the embodiment of a "draft aesthetic". "Draft aesthetics" is a contemporary strategy of "non-finito" as a type of artistic thinking and demonstrates conditional imperfection, incompleteness of the text, an open form that captures the variability, uniqueness, confusion of the subject's state of consciousness and realizes the performative nature of the dramatic text. The fixation of facts, characteristic of a document, becomes in the documentary a fixation of temporary fluid states of the character in the interpretation of events (past or present) in order to preserve and remember this liminal state. In contemporary Ukrainian drama, a field of frontier between documentary and post-documentary is being formed: playwrights, directors, drama and theater researchers raise issues of trust in the document, look for ways to find contemporary attitudes, artistic methods and techniques that would reflect the "truth of the fact", raise questions of artistic ethics regarding involvement of documentary sources. The crisis of the documentary is realized as a means of salvation in the post-documentary: playwrights embody for the recipient the maximum approximation to reality, which reflects the document as an object of artistic research.

Performative language in Bertolt Brecht’s Life of Galileo. Didactic reflections on dialogue and interpretation

There are nowadays a whole series of publications on the staging or productive use of theatre, all of which show that the theatrical learning medium has long since been used not only in mother-tongue or foreign language teaching in schools, but also in the field of dialogue interpretation. What is striking, however, is that it is not the drama text but preferably theatrical techniques that are used to initiate a better way of dealing with complex language situations. Theatre has developed into a relational medium par excellence because of its play character and not because of its literary text substrate; in fact, the theatrical genus is form-giving and formable, sometimes so formable that one of its ostensible constituents, i.e. the text, is often perceived as a negligible one. The approach adopted here is different: With its dual focus – on a specific drama text and on the prosodic design –, it adopts a holistic perspective that considers both language and gestural awareness of dialogical interactions.

Maggie O'Farrell's «Hamnet»: an Imaginative Critical-Biographical Interpretation of William Shakespeare's «Hamlet»

The aim of this essay is to contribute to the understanding of William Shakespeare’s tragedy Hamlet (1603) by means of a critical reconsideration of biographical episodes such as the functional gap the playwright left in his family. To this end, two texts will be examined, Maggie O’Farrell’s Hamnet (2020) and Shakespeare’s Hamlet itself, reading the former as an imaginative critical-biographical interpretation of the latter. The focus will be on Shakespeare’s domestic life, particularly on the figure of his son Hamnet and the relationship he had with his father, as depicted in O’Farrell’s work. Using the dramatic text as primary textual source, a thorough comparative interpretation of both literary pieces will be carried out. The analysis of key passages of the novel will lend support to the hypothesis that Hamnet can be considered as a critical-biographical interpretation of Shakespeare’s Hamlet.

PENERAPAN PENDEKATAN CULTURALLY RESPONSIVE TEACHING (CRT) MELALUI TEKS DRAMA “SULTAN SURIANSYAH”

This study aims to describe the implementation of learning literature to students in class 8C at SMPN 21 Banjarmasin, South Kalimantan, applying the Culturally Responsive Teaching (CRT) approach to the drama text "Sultan Suriansyah". This study uses a qualitative method that produces descriptive data in the form of speech or writing and observes behavior of students. The results showed that learning begins with orientation, apperception, motivation, and giving references. Furthermore, the core activities carried out by educators through the CRT approach are self-identification, culturally understanding, collaboration, critical reflection, and transformative construction. The last part of the learning activities carried out by educators is in the form of reflection and follow-up plans. The assessment carried out is the cognitive assessment of students obtained from assignments in the form of text. Indicators for achieving competency 3.15.1 in the form of analyzing the intrinsic elements of the drama presented have been completed with a percentage of 96.7%. Indicators for achieving competency 3.15.2 in the form of analyzing the interrelationships between elements of the drama presented have been completed with a percentage of 60%. The affective value, in the form of self-confidence shows that the level of self-confidence of students has developed as expected, it is 93.4%. The attitude of responsibility shows that the level of responsibility of 56% of students has developed according to expectations and 43.3% has greatly developed. The attitude of cooperation shows that the level of cooperation of 66.7% of students has developed according to expectations and 33.3% has greatly developed. The psychomotor value, namely the ability to discuss students shows that 63.3% of students have achieved the minimum completeness criterion value. Likewise, the presentation skills of students showing 70% of students have achieved the minimum completeness criterion score of 70.

Crisis, Cruelty and Absurdism in John Ruganda’s The Floods and Shreds of Tenderness

John Ruganda is categorized as an African writer whose writing is marked by the expression of post-independence disillusionment and the transference of anger and blame from foreign to indigenous leaders, yet he has received very little critical attention as an artist. The study examined the aesthetics of the absurd drama in John Ruganda’s plays. The rationale for the study gestures to the need to study Ruganda’s dramatic texts as representative of a historical, cultural and social trajectory through the less studied body of drama. This study discusses the state of social and psychological crisis, cruelty and absurdism of life in drama. The study used Ruganda’s two plays, namely The Floods and Shreds of Tenderness. The various modes through which absurd drama appeals to the aesthetic sensibilities were examined. The study employed descriptive research and used purposive sampling. Data were analysed qualitatively by describing the findings of the study to arrive at inferences and conclusions. In his plays, Ruganda depicts a society full of misfortunes and suffering and where no one has peace. Each person is seen as a problem that eats up the mind and body. Many people have lost their lives because of a cruel society. The effects of cruelty are also depicted through the fragmentary nature of the characters’ lives and their minds. The state is violent to its subjects, and subjects are violent against one another

Trumpoji draminė forma Kosto Ostrausko ir Juozo Erlicko kūryboje

Short dramatic forms have become theatrical objects that are not easily identifiable. They act as a symbol of questioning the foundations of the conventional drama and a reflection on the dramatic genre in general. The article focuses on its ambiguous treatment and its actualisation in the context of contemporary Lithuanian dramaturgy. Micro-drama, miniature, one-shot drama, or ‘dramatized’ proverbs and sayings – these are the playwrights’ own denominations indicating a kind of tendency which emerged at the end of the 20th century, or, at least, the search for an original term or word. At the same time, however, this effort also signals the inscription of short-format dramatic texts into a certain mediatic area of literature and theatre, which is primarily seen as a sign of a certain bargain with the reader. The article does not look at short-form texts so much through the prism of theatrical evolution, but rather focuses on the mechanism of short-form writing. The question is whether (and how) such ‘mutations’ of dramatic writing maintain a specific theatrical mode of operation (the plot, the character etc.) when they enter the dynamic field of the short form. It is concluded that its mechanism is related to maximum cost-effectiveness and economy of language, and, through the reduction of the aforementioned dramatic triad, the function of the perceiver and his/her interpretative work are radicalised.

Echo’s Fluid (Im)materiality across Text and Performance

This article explores the use of echoes in early modern theater, particularly in the context of opera. By examining the incorporation of echoes in plays, libretti, and scores, the article argues that the Ovidian trope of Echo occupies a fluid space spanning textuality and performance. The article begins by delving into how the sonic essence of Echo was conveyed in early modern dramatic texts and conceptualized in coeval theoretical writings, forming a continual negotiation between the specific features of the performance and the endeavor to record it on the page. Subsequently, it looks at the appearance of Echo in Monteverdi’s L’Orfeo, offering it as a case study for evaluation through the lens of modern performances and the interpretive questions they raise.

Satire: Sindiran Humor dalam Naskah Drama Arab

The Arabic drama "Mismaru Juha" by Ali Ahmad Bakatsir has the character Sheikh Juha that has a role by the humorous and wise. The Arabic drama used script with Arabic language for Sheikh Juha is full of critical of elites allied with other nations. It is according the writer has nationalism. Critical of drama script expressed in stylistic satire, namely an expression of humorous allusion. The aim of this research is to determine the type of satire of drama script Mismaru Juha and its percentage. The method uses a descriptive-qualitative type of library research, with the focus of the study being the overall style of satirical language in drama texts Arabic of drama script Mismaru Juha. There are four stages of data analysis are organizing data, reducing data, presenting data, and drawing conclusions. The result is the Arabic drama used satire style in the form of humor to give criticm based on norms society. The satire is three types are: (1) horatian satire (soft allusion and empathy) with 45%; (2) Juvenalian satire (allusion harsher than horizontal satire, direct criticism) with 25%; and (3) Manippean satire (allusion of narrative with stories or experiences that have occurred) with 30%. The type of satire that is more often used is horation satire that has humor, polite speech andnot rude words.

Pengembangan Model PBL (Project Based Learning) Berbasis Potensi Lokal dalam Pembelajaran Menulis Teks Drama di SMA Negeri Kabupaten Kubu Raya

This research is motivated by the low ability to write drama texts of high school students in Kubu Raya Regency, West Kalimantan, which is still below the KKM. The low ability of students to write drama texts is caused by students' lack of interest and students' difficulty in determining drama themes. The learning model used by teachers is still not in line with expectations. The learning model is still not varied. Such conditions indicate gaps that need to be resolved. The Project Based Learning model based on local potential is an alternative for improving the ability to write drama texts. This research aims to describe the profile of learning to write drama texts, design a Project Based Learning model based on local potential in learning to write drama texts and develop a Project Based Learning model based on local potential in learning to write drama texts as well as the responses of participants after this model is implemented. This R&D research uses the Plomp model which consists of stages, preliminary investigation, design, realization/construction, test, evaluation and revision, implementation. Data collection techniques in this research were observation, questionnaires, interviews and tests. The data analysis used was qualitative descriptive. The test results of the implementation of the Project Based Learning model based on local potential in learning to write drama texts at SMAN Kubu Raya Regency, West Kalimantan can improve the ability to write drama texts. The final Project Based Learning model based on local potential in learning to write drama texts is a guide to the Project Based Learning model based on local potential in learning to write drama texts.