Historical Drama Research Articles

Psychology of conflict in drama and poetics of individualized characterization of characters

In the research work, the theoretical foundations of the literary only genre of drama genres in the world art of speech (drama, tragedy, comedy), the foundations of the historical and poetic formation of the tradition of artistic continuity in drama are scientifically systematized. The main character of the works of drama, carried out by the integrity of literary creativity and theatrical and stage production, is scientifically formulated. The creative significance of outstanding playwrights in the formation and development of national and world theatrical art in the history of classical drama, whose works were embodied in the integrity of literary and theatrical-stage production, was evaluated. In the composition of plays written on the basis of poetic laws of drama, it is described in detail that the literary poetic character and methods of motor actions (monologues, dialogues, facial expressions, Remarque), stage and technical equipment (mizansena, scenery, makeup of actors, stage clothing, lighting, etc.), the activities of creative personalities (author-playwright, director-director, actor) are carried out in integrity. Shakespeare’s literary activity lasted twenty-two years, of which twelve years are considered the most fruitful. During this time, he writes his highest tragedies from an artistic point of view. The rich-ness of the theme, the clarity of the ideological direction and the deeply realistic expression of everyday events raised Shakespeare’s tragedies to a high level. Therefore, his dramatic work has firmly established itself on the stage of theaters around the world and still excites the audience. And the tragedy of M. Auezov, whose works are in harmony with the examples of classical genres of world civilization, left an imprint on the Kazakh drama of the early XX century, which went through its own stages of development, clearly reflects the poetic and psychological features of socio-psychological conflict (conflict) and individual characterization of characters. Therefore, the tragedies of William Shakespeare’s «Romeo and Juliet» and Mukhtar Auezov’s «Karagoz» in classical drama are a continuation of the artistic tradition. In the drama of these writers, the study of the psychology of conflict and the poetics of individualized characterization of characters will always be an urgent problem.

The use of The Use of Myth in Selected Plays by Girish Karnad

This paper focuses on Girish Karnad`s use of myth in his plays to express the bad conditions that women suffer from in the patriarchal society. It examines the role of Karnad in modernizing the mythological tales of India to express the modern situation of women. The paper clarifies the postcolonial feministic approach which is adopted by Karnad in his plays. Nagamandala is selected to show the use of myth the use of the postcolonial approach in Karnad`s work. Keywords: Myth, Postcolonial, Feminism, Girish Karnad, Patriarchal society , Indian drama, Mahbharata and Ramyana The beginning of Indian drama can be traced back to the ancient rituals and seasonal festivities of the Vedic Aryans. Later, different events from the epics Ramayana and Mahabharata were picked up and enacted out in public places. The origin of the Sanskrit dramas dates back to 1000 B.C. (Nagane) Contemporary Indian drama is experimental and innovative in terms of thematic and technical qualities. It is not progeny of any specific tradition but it has laid the foundation of a different tradition in the history of world drama representing history, legend, myth, religion and folk-lore with context to contemporary socio-political issues. ( Bharata7)

Ascetic Ressentiment: Historical consciousness and mountain politics in Northeastern Japan

ABSTRACT This article explores competing streams of historical consciousness in Mount Haguro, a sacred mountain in northeastern Japan known for its mountain ascetic traditions. Applying the notion of ressentiment (historical alienation) and resentment (ideological alienation) to the longue dureé of religious history in Mount Haguro, I demonstrate how contemporary conflicts in the mountain ascetic community are rooted not only in a historic rift between Shintō and Buddhism in the early Meiji period, but in a greater dynamic at play in Japanese religious history between nativism and cosmopolitanism.

The Pamela Davies Collection

Film continuity supervision is a craft historically dominated by women. Yet, several years since Melanie Williams’s pathbreaking article on David Lean’s continuity supervisors, scholarship on this deeply gendered area of film production expertise remains lacking. In response, this dossier contribution will introduce Pamela Davies’ film continuity stills, catalogued by the author at the Bill Douglas Cinema Museum during an AHRC-funded placement (2018–2019). Davies secured the desired consistency of dialogue, cinematic staging and special effects in British cinema from 1948 to 1985, beginning with the post-war cycle of historical drama in widescreen and colour. Taking a multi-faceted archival approach, I discuss how photographs in the collection snapshot Davies at work and the stills photographers who collaborated with her during a transformative period in British cinema. Examining the stills in their material, craft and commercial contexts will raise new questions about continuity work and make the collection more accessible for researchers.

براہوئی ٹی اسٹیج ڈرامہ نا بنا


 
 
 
 Purpose of this article is to discuss the beginning, development and age of Brahui stage drama. Stage is the starting point in the history of drama but it became the part of Brahui literature after the succession of radio and tele drama. Although stage in Brahui is latest but its traces could be found in folk literature of Brahui in the form of Raag which ware short acts played by the youngsters in early ages of Brahui society to entertain the gatherings at nights. History of modern drama in Brahui begins with the beginning of radio in Quetta. The first drama in Brahui was written in 1956 and published in monthly Balochi by Ghulam Nabi Rahi. And the first stage drama in Brahui was played on stage in 1978. This sequence continued for some years with a great enthusiasm the young writers of Brahui adabi society played a great role in the development of Brahui stage drama. The stage drama in Brahui are still played but very rarely. Stage drama in Brahui could not make a better position and its future seems dark too as there are not better plate forms and resources for stage in Balochistan.
 
 
 

Fragmentation and bricolage in Victor Hugo’s Hauteville House

ABSTRACT Soon after his move, in 1855, to the Channel island of Guernsey, Victor Hugo bought a large house, which he called Hauteville House after the quarter of Saint Peter Port in which it was located. Over the next six years, he led a massive decoration campaign, during which he transformed the interior of the house into what many contemporaries saw as an ultimate form of self-expression. One of the main characteristics of the Hauteville House interior was that it was furnished entirely with antiques and bric-à-brac that Hugo had acquired in Guernsey as well as on the European continent. The poet was a passionate collector who scoured the antique shops in Guernsey for old chests, furniture, fabrics, etc. These he brought home not to restore them to their former glory but to take them apart and make new pieces of furniture out of them. In this article I link Hugo’s process of fragmentation and reformulation to his writing method, especially his historical novels and historical dramas, as well as to contemporary historiography. I also link his process to Claude Lévi-Strauss’s concept of bricolage in an effort to show that Hugo’s opportunistic strategy of using available fragments of earlier cultural epochs and remaking them into new forms is analogous to the process of mythical thought. Indeed, I argue that Hugo’s bricolage process in Hauteville House was a conscious process of self-mythologizing.

A process of screenwriting: a film treatment for ‘the Engineer-in-Chief’

ABSTRACT The purpose of a film treatment is to convince the reader of a cinematic story and the potential for the film to reach a broad audience. The treatment is a prose summary of the story as it plays out, in a compressed form, and is a process of screenwriting. It ensures the story is coherent and its meaning is made clear by conveying a sense of screenwriting conventions. Specifically, for the genre of historical drama, the poetics of a film treatment will encapsulate a blend of verifiable facts and creative solutions that contribute to the understanding of the past. Screenwriters, by way of empathetic and informed speculation, bridge the gap between epistemology and imagination to capture the hearts and minds of the audience. In 1902, a brilliant engineer’s emotions are at breaking point in the final days of his life as he struggles to defend himself against false allegations of corruption and incompetence levelled at him by parliament and the press. This is the ‘true’ story of the Coolgardie Water Supply Scheme, in Western Australia, encompassing the longest water pipeline in the world, but events conspire against the Engineer-in-Chief, Mr C.Y. O’Connor, leading to his tragic death.

ІНТЕГРАЦІЯ ПАН'ЄВРОПЕЙСЬКИХ ТЕАТРАЛЬНИХ ТРАДИЦІЙ ЕПОХИ БАРОКО В ІСТОРИЧНУ ДРАМУ КОРИФЕЇВ

The article represents the study of the peculiarities of the integration of PanEuropean theatrical traditions of the Baroque epoch into the historical drama by Ukrainian coryphees. Particular attention is paid to the study of the specifics of the creation of baroque drama of the XVIII century and its influence on the formation of the dramatic tradition of the Coryphées. The main European tendencies represented in historical baroque dramas are singled out. It is proved, that succession is manifested primarily at the level of national identity. The historical dramas of F. Prokopovych “Volodymyr”, the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky”, I. Karpenko-Kary “Sava Chaly” in the comparative aspect are analyzed. Common and different features in the interpretive models of the central images of statesmen are clarified. Actually, F. Prokopovich has developed his own theory of drama with a division into five acts. It was found out, that such a structure is also characteristic of the works of I. Karpenko-Kary “Sava Chaly” and M. Starytsky “Bogdan Khmelnytsky”, which testifies to the preservation of the baroque dramatic tradition. At the same time, the Coryphées have significantly deepened the compositional structure of the drama, adding new elements. The works of the anonymous author “God’s Grace” and M. Starytsky “Bogdan Khmelnytsky” have the genre of historical drama, the central image of hetman B. Khmelnytsky. However, in the historical drama of M. Starytsky “Bohdan Khmelnytsky” the interpretative model of the image of the statesman is significantly expanded, in particular, the psychological aspect of the figure of the hetman is deepened. At the same time, the idea of messianism, especially the interpretation of the National Liberation War as the highest level of self-sacrifice, is common in the interpretation of the image of B. Khmelnytsky by the anonymous author and M. Starytsky. Pan-European traditions of Ukrainian baroque drama of the XVIII century has become one of the sources for the formation of the original professional Theater of luminaries, in particular historical dramas.

Undergraduate Students' Perspectives towards Modernization of Historical Costume in Historical Drama -Focused on Havruta Learning-

Undergraduate Students' Perspectives towards Modernization of Historical Costume in Historical Drama -Focused on Havruta Learning-

The TV series ‘Medici’: between history, memory and comercial product

The ‘Medici’ series was one of the television events of the year, created and produced by Frank Spotnitz and Nicholas Meyer and directed by Sergio Mimica-Gezzan. The historical drama, which aired on Netflix (2016) in the first world premiere, and which features the events of the well-known 15th-century Florentine family. The contribution aims to deepen the relationship between history, memory and the commercial product.

Treme (TV Milestones Series) by Jaimey Fisher

Reviewed by: Treme (TV Milestones Series) by Jaimey Fisher Nicholas K. Johnson Treme (TV Milestones Series) Jaimey Fisher Detroit: Wayne State University Press, 2019. ISBN: 9780814341513, $19.99, 152 pages. In Treme, a compact, critical guide to the David Simon and Eric Overmeyer-helmed HBO series of the same name (2010-2013), Jaimey Fisher explores how this underrated series depicts post-Katrina New Orleans through original, inventive techniques. Part of Wayne State University's TV Milestones series, Treme examines the series through the lenses of networked narrative, cultural production, criminal justice, disaster capitalism, and the "counter-publics" of New Orleans. In contrast with other scholarly or journalistic treatments of Treme, Fisher's volume goes beyond now-shopworn arguments about whether the series depicts New Orleans from a touristic, "outsider's" perspective—a David Simoncentric contention that quickly falls apart when one notes the large amount of local involvement in the production. Instead, Fisher examines Treme from the perspective of how it differs from other "prestige" television series of the early 2000s by dispensing with genre convention altogether. He notes that the series stands out for its prominent female characters and as the only prestige television series with a black protagonist, even though Antoine Batiste (Wendell Pierce) is the series' protagonist in only the loosest sense of term (5). In this short but detailed analysis of Treme, Fisher examines the series as an outlier in the "prestige television" landscape and critically investigates how it depicts a city recovering from trauma and rebuilding. Fisher begins the book by introducing twin concepts that ground his analysis: the "noconcept narrative" and "networked narrative." With the former, he refers to Treme's rejection of traditional television plotlines and generic tropes, such as The Wire's narcotics investigation narrative, in favor of a meandering, "slice of life" depiction of New Orleans—in layman's terms, it is, like Seinfeld, a "show about nothing." For him, Treme, with its "emphatic rejection of television genre…functions as a kind of counter-public, at odds not only with television's standard generic fare but even with the sort of widely praised genre variations in The Wire" (115). This is one of Fisher's most convincing arguments and helps his analysis go beyond that of other works on the series, which tend to focus on its depictions of New Orleans culture. The series' muted critical reception was in part due to puzzlement at a seemingly aimless follow-up to The Wire, which explored Baltimore through the lenses of the War on Drugs, education, politics, and the media. The networked narrative concept refers to the show's use of an ensemble cast of characters in order to depict the city of New Orleans as its main character, as opposed to focusing on a troubled male antihero, common to other "prestige TV" series such as Mad Men, The Sopranos, and Breaking Bad. Treme combines the networked narrative method of storytelling (which Simon initially employed in The Wire) with a strong emphasis on montage in order to draw disparate characters into a larger, more collective story. Fisher traces Treme's networked narrative style and its use of montage to urban crime films including Fritz Lang's M (1931) and argues that these techniques prove especially valuable for a film or series' "social engagement," that is, they help viewers think about systems, not just individual characters (16-17). Most valuable for readers of this journal are the intriguing possibilities such a networked narrative depiction could offer other historical television series. Also pioneered by other recent HBO fare such as High Maintenance, network narratives could offer historical drama series the possibility of moving beyond great man/woman storylines, as well as depicting urban environments through diverse viewpoints in order to interweave the stories of individual characters with larger, more system-level narratives. In short, Fisher argues that Treme's use of networked narrative strategies combined with montage allow the series to constantly shift scale in order to illustrate just [End Page 69] how New Orleans both suffered from and dealt with the fallout of Katrina at various societal levels, whether in the city's music and food scenes, failing criminal justice, housing and educational systems...

ТРАГЕДИЯ В ДРАМАТУРГИИ Л. ТИКА: НЕКОТОРЫЕ АСПЕКТЫ

The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama

Russian Disabled Veterans in Poland in the 1920s – 1930s: Community, Personalities and Daily Life

The article examines the dramatic history of the survival of Russian disabled veteran emigrants in Poland in the 1920s–1930s. The main aim is to highlight issues of the financial situation of disabled veterans, their legal status and self-organization, and the humanitarian activity of the Union of Russian Disabled Veteran Emigrants in Poland. The paper reflects the adjustment difficulties of disabled veterans in Poland, aspects of the mixed attitude of the Polish authorities to Russian emigrants, and the internal problems of the emigrant community. Continuous support and assistance to disabled people and their families, and care for disadvantaged fellow countrymen are he focus. The article shows the efforts of the Board of the Union of Russian Disabled Veteran Emigrants in Poland, not only to support disabled people financially, but also to encourage the emigrant community’s morale and to oppose the marginalization of disabled veterans. The paper states the fundamental reasons for moral problems associated with the physical well-being of disabled people, the lack of prospect awareness, the loss of hope for a status change and receiving Polish citizenship, and the loss of connections with Russia. The article presents features of everyday life of the Russian disabled veteran emigrants; it observes the policy of the Union’s Board in relation both to Polish authorities and to members of the Union. In the 1920s and 1930s the Union of Russian Disabled Veteran Emigrants remained the only uniting center for disadvantaged Russian people, and its leaders honestly fulfilled their duties. The author used materials from the documents of the Russian archives (State Archive of the Russian Federation, Russian State War and Historical Archive), and newly available documents of the Lithuanian Central State Archive (LCVA).

Gentle Craft: Genre and Ideology in Thomas Dekker's The Shoemaker's Holiday

This essay examines Thomas Dekker's The Shoemaker's Holiday (1599) and the ways that it dramatizes the ideological emergence of the early modern citizenry in London. Looking through the dual lens of modern genre theory and Marxist literary criticism, the essay argues that the early modern history play is a precursor to the city comedy form and that The Shoemaker's Holiday is a hybrid play drawing on aspects of both genres. The play exhibits not just this generic shift but also the economic and ideological tensions between the aristocracy and early bourgeoisie that this shift represents. Ultimately, the essay argues that greater scholarly flexibility in defining genres and understanding their evolution can yield further insight into the similarly flexible and sometimes undefined nature of social relations in early modern England.

드루리의 메타드라마: 은폐된 첫 번째 대학살의 폭로

This paper aims at exploring the meta-dramatic elements of a concealed history of the first genocide conducted on the Namibia Herrero people in the 20th century, as dealt in Jackie Sibblies Drury’s play, We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884-1915. The meta-dramatic elements to be discussed in this play are the lines that reflect actors’ self-consciousness and a type of a play within a play which consists of dramatic forms, “Process” and “Presentation,” which recreate the hidden death that is eluded over as history is canonised. Unlike conventional diaspora plays, Drury traces the forgotten historical truth by exhibiting the actors’ improvisations. In the scene of “Process,” actors continue to improvise with lines that reflect self-consciousness, revealing stereotypes about race in the role of the German/Herrero. In the scene of “Presentation,” the improvisations actors reproduced in “Process” are repeated and modified, showing the violence caused by racial prejudice. The stage called “Processtation” is the point where the boundaries between “Process” and “Presentation” are broken and the place where the audience face inconvenience. In the scene, actors are immersed in their roles as oppressors and victims, creating a dramatic situations. The stage is a space encountering the tragic history and recognizing the violence of implicit bias. This play, which reveals the meta-characteristic nature of Drury’s dramatic world, draws attention to how we narrate and learn history, going further from the historical drama that discovers African characteristics and the concealed history.

Beginning of Urdu Drama and basic discussion

Drama is the oldest genre of literature. It’s the act of telling a story in action. Drama reached India through different countries where Urdu drama came into being from Sanskrit drama. Due to the lack of interest of Muslims in India, reviewing the history of Urdu drama and deciding which is the first Urdu drama, has been a very complex issue. This article aims to determine the first Urdu play in the light of the views of the researchers.

Das Bild von Herkus Monte in der deutschen und litauischen Literatur und Kultur

This article focuses on the historical figure of the leader of the second uprising of the colonized Prussians against the Teutonic Order, Herkus Monte, who is presented here primarily as a literary figure. The increasing interest in Prussian history changed the written media, so that the order chronicle of the 13th century later turned into literary works, primarily historical novels and historical dramas in Germany. Because of the geographical proximity and linguistic relationship, the Lithuanians feel a strong affinity for the Prussians and their heroes. In the following, we analyze literary works by Lithuanian authors on the basis of which a feature film and an opera were created.

역사드라마에 나타난 역사이미지의 구성 - 헤르만전투를 중심으로 -

본고는 클라이스트와 그라베가 쓴 역사에 ‘관한’ 드라마 『헤르만전투』에서 역사이미지의 구성작업을 다룬다. 클라이스트의 텍스트는 ‘역사적’ 지식과 ‘민족적’ 지식의 대립에서 개인의 영웅성으로 고정된 기존 역사이미지에서 벗어난 하나의 역사탐색이다. 여기서 전통수립의 행위들은 헤르만 개인이 아니라 민족성에서 보존된다. 이점에서 헤르만은 자신의 역사이미지를 역사책이 아니라 독일인들의 신체에 ‘쓰고’ 있다. 그라베의 극에선 사건변두리의 에피소드들에서 문자로 전승된 공식적 역사이미지의 저편에서 짧은 순간 역사의 흔적들이 나타난다. 에피소드들은 종래 역사이미지로 저장된 집단적 지식과 개인적 경험의 틈새를 드러낸다. 이 틈새를 통해 탐색될 수 있는 것은 ‘역사’에 새겨졌던 목소리와 역사이미지 이면에 있는 신체들이며 이것들의 고유성을 통해 이미지나 목소리로는 전해질 수 없는 경험이 얻어진다. 여기서 중요한 것은 상상 속에 일어나는 역사탐색, 문자 이면에 일어났던 것을 통해 읽어낼 수 있는 미지의 역사탐색이다. 이를 가능케 하는 심미적 드라마텍스트의 구조를 통해 역사이미지에서 ‘구멍’이 다시 채워질 수 있다.

The Evolution of Expressive Facilities in the US War Film

The aim of the article is to analyze the evolution of expressive facilities in US war films, the images and cultural meanings which they form.The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical base of the study included a series of US war films, a detailed analysis of expressive facilities and content analysis were carried out.The results. The war film has a huge potential for expressive facilities to create artistically powerful portraits that reflect the characters of the epoch, landscapes and interiors, which unfold battle scenes and life of citizens. Many researchers note the fashion for aggressive and unbiased presentation of audiovisual information (like films “Fury” and “Americаn sniper” 2014). War films of XXI century are made taking into account modern technologies in color correction: in complementary or similar color schemes. Landscape and interior in the films of 2014 serve as a background; panoramas and long-range plans give way to close-ups and medium-sized, battle scenes are given general plans instead of long-range. Authors of war films of medium and end of XX century (“Apocalypse Now” and “The Last of the Mohicans”) created powerful color and light conceptions of the films, which contains with dramatic history, for example using chiaroscuro effect.On the one hand, there is a kind of simplification and impoverishment of the visual solutions of war films, the convergence of feature films with TV series and documentaries about the war, made in black and white. On the other hand, we note the commercial success in the rental of all considered films, so all the films met the needs of the audience in 1979, 1992 and 2014.The expressive facilities, mentioned in the article, created powerful images of the desperate but “wise” murderer of Kurtz; the “cruel and steadfast” Magua Indian; the cold and “fair” violator and murderer Don Collier; and the “good-natured” joker, record-breaking sniper Chris Kyle. Noteworthy that the role of the victim and the killer are replaced, the killers suffer from the “cruelty” of their victims, who dared to resist. In this case, the expressive facilities help to justifying the armed presence of a US soldier thousands of kilometers from his country. This creates powerful patriotic images of the main characters, who allegedly protect the states from the military aggression of an imaginary enemy.Novelty. The article reveals the dynamics of the use of expressive facilities in a war film from the middle of the XX century to the first quarter of the XXI, the cultural and social meanings generated by them.The practical significance. The main theses and results of research may be useful for practicing directors and cameramen in the formation of a director’s concept of a war film, preparing a script and choosing visual solutions. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for teaching disciplines in film schools in Ukraine and abroad.

Un dios de sanación y de destino

En estos últimos años, la historia y la cultura germánica de la época vikinga han visto incrementada su presencia en el medio audiovisual, tal y como demuestra la aparición de la serie Vikings (2013). Concretamente, esta última incorpora frecuentemente referencias a los mitos asociados a Óðinn —una de las divinidades centrales del panteón nórdico—, cuyos atributos aparecen, además, reflejados en algunos de los personajes. Así, el objetivo de este artículo es analizar, por un lado, cómo los relatos y características vinculados con el dios se adaptan a las exigencias de la trama y, por otro, explicar en qué medida las alusiones a esta divinidad evocan los significados que los mitos odínicos encerraban en su contexto original. Tras este análisis será posible concluir que los poderes que el antiguo mundo escandinavo atribuía a Óðinn en relación con el destino y la magia curativa determinan el futuro de algunos de los protagonistas de Vikings.