Dramatic Theory Research Articles

Vers pompeux – cadavre oratoire. Rhetorische, galante und dramaturgische Ausformungen der dissimulatio artis im frühneuzeitlichen Theater am Beispiel von Corneilles Pompée

Abstract This article understands dissimulatio artis as a link between political rhetoric, early modern courtly behavioural theory and the theatre of the 17th century. Using the example of Pierre Corneille’s Pompée, it is shown that dissimulatio artis found its way into French theatre along two lines of development: On the one hand, dissimulatio artis as the basis of courtly behavioural theory (in Pompée, above all gallantry) becomes a dramatic model of interaction and dialogue; on the other hand, it becomes a category of evaluation in debates on drama theory. To this end, the observations and evaluations of the characters’ politic-rhetorical and gallant dissimulatio artis that take place in the dramatic dialogue are examined at first, which point to the interdependence of early modern savoir-vivre and rhetoric through dissimulatio artis. Finally, Corneille’s poetological writings are used to derive the dissimulation artis as a criterion of drama genesis.

Contributions of directors trained by the (former) Soviet Union to Vietnamese drama

The later directors who were trained in the former Soviet Union or studied in socialist countries such as Bulgaria and Romania had a solid foundation in theatrical theory and in the organization of performances according to the Stanislavsky system, a scientifi c theatrical theory system, an advanced and very valuable artistic method, of world stature. After having professional directors, the Vietnamese drama theater has undergone great changes. The directors have matured, and today's performances are much diff erent from the past. There is no longer a state of arbitrariness on theater, the actors have a full sense of responsibility towards the audience and towards the image of the character they play. The art of directing has had good achievements with the success of plays that have been widely welcomed by audience and recognized by people in the industry.

1910년대 신파극의 등장과 전통연희공연의 전개양상

This paper reexamines the aspects of yeonhui (traditional performing arts) unfolded in the relationship with sinpageuk (westernized theatrical play introduced from Japan) in the 1910s, which has been under-researched, focusing on the previous studies on the theater and Gyeongseong Gupa (lit. old school) Actors' Guild, which are key topics related to this period. As a result, there were significant differences from existing discussions in many ways. It has been assumed that yeonhui performances in theaters were reduced due to the introduction of sinpageuk in the 1910s. However, except for Yeonheungsa, which actively accepted sinpageuk and operated it as a dedicated theater among the representative Korean theaters in the 1910s, it was confirmed that yeonhui in Gwangmudae, Jangansa, and Danseongsa during the first and second half of the 1910s had a numerical advantage over sinpageuk in terms of the frequency of performances. Furthermore, the formation of the Gyeongseong Gupa Actors' Guild was not influenced by the decline of yeonhui performances due to the popularity of sinpageuk, but rather by the fact that it was organized with the permission of the Japanese government in order to take charge of entertainment at the exhibition Mulsan Gongjinhoe that the Japanese thoroughly prepared in 1915 for the purpose of promoting the legitimacy of their colonial rule. Moreover, the ‘new and old school performances’ promoted by the Gyeongseong Gupa Actors' Guild were the sinpageuk performance by old school actors, not by sinpageuk troupes, and the ‘sinpa gaeryangdan’ (lit. new school reform troupe) organized by the Gyeongseong Gupa Actors' Guild was a measure taken in cooperation with the Gyeongseong Gupa Actors' Guild for sinpa actors who were on the verge of extinction.

Evaluation of Hafıza-i Saltanat theater play and activities in terms of history teaching

The aim of this study is to evaluate the Hafıza-i Saltanat theatre play and activities, which combines evidence-based learning and history-themed theatre, written based on archival documents, in terms of history teaching. In this study, firstly, Hafıza-i Saltanat theatre play and its activities were introduced. Then, the play was examined in the context of historical reality, 10th grade history course curriculum achievements and textbooks, and the activities of the play were examined with student opinions in the context of age, level, knowledge, skills and 10th grade history course curriculum achievements. Document analysis and holistic single case study design, which are qualitative research methods, were used in the study. While the text of the theatre play, video recording and activities were evaluated through document analysis, watching the play and implementing the activities were handled as a holistic single case. The study group consisted of a total of 19 volunteer students, 6 boys and 13 girls, studying at the 10th grade level of secondary education. The data collection tools of the study were the text of the Hafıza-i Saltanat theatre play, the video recording of the play, the activities of the play, the video recordings of the application and the researcher's observation notes. The data obtained from the data collection tools were analyzed by descriptive analysis method. As a result of the study, it was determined that the archival documents used in the play were taken from the Mühimme Books, where the records of the Divan-ı Hümayun were kept, and the issues that were not included in the documents were included in the fiction by considering the historical facts, and for this reason, the play was written and performed largely in parallel with the historical reality. At the same time, it has been determined that the play and its activities meet and gain the achievements of units 4, 5, 6 and 7 of the 10th Grade History Course Teaching Program. It has been concluded that the use of Hafıza-i Sultanate play and activities in history lessons is appropriate for the specified achievements and that it supports the evidence-based learning approach and provides students with the necessary knowledge and skills.

Šiauliai Labour Camp No. 294 of Prisoners of War of Germany and its Allies (1945–1948)

At the end of the Soviet-German war, in spring 1945, labour camps for prisoners of war of Germany and its allies were set up in Lithuania. One of them – was Šiauliai Labour Camp No. 294, which consisted of six divisions: Akmenė, Bačiūnai, Panevėžys, Pavenčiai, Radviliškis, and Šiauliai. In June 1945, 8,256 prisoners of war were imprisoned in Šiauliai Labour Camp and its divisions; on 1 January 1946, there were 5,714 prisoners remaining and on 1 June – 5,048 (4,363 worked outside the boundaries of the camp); and on 1 March 1947 – 2,583 prisoners. They were rebuilding the city of Šiauliai destroyed during the war: they rebuilt the drama theatre, 3 gymnasiums, a hospital, a railway station and other buildings. Prisoners also produced consumer goods and a variety of products at the camp workshop and did auxiliary works on the farm, so the camp was partially self-sufficient in terms of food. Prisoners, who worked in rural areas, received food from local residents. On average, there were around 3,000–4,000 prisoners in the camp each year.In terms of international humanitarian law, the repressive structures of the Soviet Union and the Lithuanian SSR basically observed the provisions of the 1929 Geneva Convention on the Treatment of Prisoners of War, but in 1945–1946 due to extremely complicated natural and economic conditions, as well as the unpredictability of the camp administration prisoners had painful experiences. Many of them were ill; in winter 1945–1946 the camp suffered a typhus epidemic. Between 1945 and 1948 about 500 prisoners died, most of the prisoners were underfed and malnourished. The camp administration and managers of various economic entities abused the available cheap labour of prisoners, corruption thrived, there was large-scale embezzlement and there were minor thefts by the camp staff.The number of prisoners fluctuated each year: some of them were taken to the Soviet Union, others were repatriated; some prisoners escaped. According to some data, between 1945 and March 1947, 188 people escaped, but according to other data between 1946 and 1947, 99 prisoners escaped (50 were recaptured) and 2,321 were repatriated. When general repatriation started in the Soviet Union, Šiauliai Labour Camp was closed in autumn 1948. The remaining inmates were transferred to Vilnius Labour Camp No. 195 and subsequently in March 1949 repatriated back to their home countries.

Amma La: Reflective Account of a Participatory Mixed Theatre Method in Migration Research in India

This article presents the methodological process of interpreting the ethnographic data of my research about the question of Indian citizenship for Tibetan refugees in India as a theater play titled “Amma la” (meaning “mother” in Tibetan). I present the enacting of the theater play “Amma la” with young Tibetans in India (2019) at three different institutions. I argue that performing the theater play “Amma la” with Tibetan participants in 2019 is a method of enacting the research findings in a participatory, collaborative, creative, and novel way that opens up possibilities for shared meanings and transformative re-interpretation of the data within an embodied, artistic, and performative dimension. I argue that the performance of the theater play “Amma la” sits theoretically at the intersection of verbatim theater, political theater, and participatory drama as well as forum theater and physical theater. It could also be argued that the theater play “Amma la” constitutes a form of experimental theater that is not complete and foreclosing, but processual and prospective. And finally, performing “Amma la” is a form of process drama, focusing on improvisation, and the process of creating and acting a scene for the benefit of the participants-actors, and not on the polished and rehearsed performances for a specific audience. For these reasons, I argue that “Amma la” is constructed on and theoretically supported by what I will simply call participatory mixed theater methods.

The theatrical orchestra and the formation of symphonic performance in Kharkiv

The purpose of the publication is to define the specific characteristics of the functioning and role of the theater orchestra in the formation of symphonic performance in Kharkiv. The methodology. In the process of understanding the phenomenon of the Kharkiv Theater orchestra, a historical approach was applied, which allowed for the chronological reconstruction of the musical ensemble’s functioning. Additionally, a comparative analysis method was used to identify the unique features of the orchestra’s instrumental composition, repertoire development, and performance practices. The results. The specific functioning of theatrical instrumental ensembles in Kharkiv, which provided musical accompaniment for performances from the 1770s to the early 1870s, was examined. The study identifies factors that led to the establishment of a permanent “Orchestra of the Kharkiv Theater and Commercial Club”, which, besides performing in the theater, also served city artistic events from the mid 1840s to the 1870s. Key factors include the return of the Kharkiv Theater to private management in 1867, the activities of K. Vilboa from 1869 to 1873 aimed at creating a concert instrumental ensemble in the city, and the emergence of a new orchestra under the direction of G. Grazia in the Kharkiv Drama Theater in 1872. These developments facilitated the organization of symphonic concerts under the aegis of the Kharkiv branch of the Russian Musical Society from 1871. The scientific novelty lies in the determination that the primary source of symphonic performance in Kharkiv was the permanent orchestra of the Kharkiv Theater, active since the mid XIX century, whose instrumental and numerical composition met the demands of the provincial musical practices of that time. The conducting activities of K. Vilboa in Kharkiv during the late 1860s and the early 1870s were a driving force behind the formation of two orchestral ensembles in the city — the theater and club orchestras — whose instrumental and qualitative compositions aligned with the principles of symphonic performance. From 1871, in preparation for symphonic concerts by the Kharkiv branch of the Russian Musical Society, the theater and club orchestras were combined, each consisting of 20–30 musicians, ensuring that the symphonic orchestra met the required academic standards in terms of instrumental and numerical composition. Future research prospects are associated with identifying the specifics of symphonic performance in the cultural centers of Ukraine from the second half of the XIX century to the early XX century.

Poetic Performativity

The author examines the performative status of a poetic work. Following T. Różewicz, he points to non-textual and potential forms of poetry’s existence. As a counterbalance to excessive adherence to textocentrism, he proposes functionalizing the tools of the new humanities (R. Nycz) and the theory of affect (B. Massumi) in the analysis of the creative act. The author indicates ways of studying the poetic experience with reference to the performative actor model (W. Baluch). Demonstrated voice recordings of poetic performances in the context of Dramatic Theory of Literature (A. Krajewska) are examples of gaining special insight into experience and dramatic self-discovery.

ANALYZING THE CONCEPTS OF JUSTICE AND CONSCIENCE IN THE PLAY REİS BEY WITHIN THE FRAMEWORK OF CRITICAL DISCOURSE ANALYSIS

Justice is the concept that ensures the existing order and aims to maintain it. Conscience and compassion are the sense of distinguishing right from wrong within oneself. In this study, the concepts of justice, conscience and compassion are analyzed through the life of Reis Bey, the main character of the radio play. While analyzing the radio play Reis Bey, critical discourse analysis method was preferred. Discourse involves uncovering the true meaning of any group of words, finding the impact of words on the individual or society, understanding the real conversations in relationships between people, explaining the political system, what its ideology is and how it is. Critical discourse analysis, on the other hand, systematically analyzes a dialogue or a single spoken word by turning it into a text. Critical discourse analysis does not have a sharp line as it enables the emergence of abstract concepts underlying the dialogues. In this context, the aim of the study is as follows. While analyzing the radio play Reis Bey, it is to reveal the meanings underlying the dialogues within the framework of meaning, context, interpretation and periodic social structure. The importance of the study is to examine the relationship between the concepts of justice, conscience and compassion in the radio play Reis Bey through the individual and to interpret the evaluations between conscience and justice in the decision-making process of justice providers. The character of Reis Bey in the radio theater play has changed his thoughts towards the concepts of justice, conscience and compassion throughout the narrative. As a result, it was concluded that the main character of the radio play, Mr. Reis Bey, completely changed his attitude towards the events in his life.

Il natal di Amore by Giulio Strozzi: interactions and echoes with the early modern literary and operatic world and Monteverdi

ABSTRACT As many scholars of early modern musical theatre certainly know, a careful perusal of literature not specifically meant for music may at times hold pleasant surprises for the discerning musical scholar. This may be particularly rewarding in the study of the first decades of Venetian opera, when librettists were often also active as novelists and/or playwrights and were in any case affiliated to or personally acquainted with members of the most outspoken literary academy of the early seventeenth century, the ‘Accademia degli Incogniti’, itself very closely involved in the establishment of public opera. Moreover, as several studies have shown, the conception and production of early opera libretti can be better understood if analysed within the context of contemporary purely literary works. And sometimes, as I will try to show here, a literary work, in this case a theatre play, may both have provided inspiration for as well as have been inspired by musical drama. As I hope to demonstrate, the implication of these musico-literary interconnections is the partial disclosure of a tight network of cultural products of the period and the significant role therein played by Claudio Monteverdi’s operas, not the least also in providing unconventional and alternative outlooks on gender and gender roles.

Theatre Control Policy or Why After Goran Stefanovski and Dejan Dukovski, No One Is Known Outside the Borders of the Macedonian Theatre? (2010–2021)

To capture the dramatic situation in/of the contemporary drama theatre in Macedonia, I will try to draw certain characteristics of the state of the theatre by referring to several political and social conditions with us, that erode the spirit and matter of everyday life.

Dynamic interaction in sustainable energy: Learning from South Sumatra in transforming conflict into collaboration to accelerate energy mix targets

Abstract Energy transition is an alternative solution that emerged as an effort to achieve zero net emissions. The countries that signed the Paris Agreement are expected to reach their targets by 2030. Indonesia targets this agreement by performing the energy mix set at 25% nationally. Many provinces have difficulties achieving its implementation due to conflicts between related stakeholders, including industry. However, some provinces have shown promising transition changes with accelerated target achievement. This research aims to identify how the government of South Sumatra can reach beyond the National Target by turning the conflict into a collaboration between government and industry. The collaboration impacts accelerating the achievement of the energy mix target. A multi-layered approach was used to analyze the dynamics of the energy transition by demonstrating the energy transition process in Indonesia using Actor Interaction analysis, Dilemma analysis, and System Analysis. Therefore, the bottom-up approach chosen, systematically uncovering actor interactions within and across systems. Interviews were carried out for data collection. The results of the interviews were identified until a series of methods emerged that were used to identify the collaboration that occurred. The analysis found that local governments encounter dilemmatic situations to balance a smooth energy transition process and ensure stable socioeconomic conditions. The system dynamic simulation has proven to be a vital addition to Drama Theory and Graph Model for Conflict Resolution, offering a temporal perspective that is fundamental for the decision-making process that concerns the ever-changing environmental situation.

Concha Méndez y los dibujos animados: las Silly Symphonies de Walt Disney en El Carbón y la Rosa (1935)

In the 1920s and 1930s in Spain, several authors expressed their admiration for cartoons in their literary texts. Among the works that were inspired by these films, the children’s theatre piece El Carbón y la Rosa (1935), which Concha Méndez published in Madrid, stands out. Besides that, the writer made explicit the link of this text with Walt Disney’s animated films and the influence of the short films that belong to the Silly Symphonies can be seen in it. For this reason, this work aims to analyze how Méndez was inspired by them to create a theatrical play full of color, music and an anthropomorphic nature with the aim to wonder children.

Offence, Shakespeare, and Performance

Abstract Offence is a highly topical and much debated issue in contemporary Western societies. Fierce arguments rage between those who advocate mechanisms such as safe spaces, no platforming, and sensitivity readers to protect people from encountering offence, and those who maintain that curtailing the expression of offensive ideas stifles dialogue and impoverishes intellectual exchanges. This article sheds new light on the phenomenon of offence by examining it in the context of literary production, dissemination, and consumption. It focuses on drama as a performative genre, uniquely suited to embodying and interrogating emotions underpinning offensive exchanges. Through analysing representations of offence in several Shakespeare plays and discussing three actual or planned Shakespearean productions which caused offence to twenty-first-century audiences, it illuminates the ambiguities and contradictions inherent in defining offence. In particular, it demonstrates how difficult it is to determine agency in offensive exchanges: to establish who ‘owns’ offence, whether it originates with the offender or the offended party, and who has the right to decide what its consequences should be. Simultaneously, it argues that offence includes an element of social performance, as we do not only feel but also act offended. Because of the performative nature of offence, theatre and drama theory offer us a perfect laboratory and vocabulary for engaging with this vital issue.

Is There an End to the Theatrical Play? Hans Urs von Balthasar’s Understanding of the Beatific Vision in Relation to the Theo-Drama

Hans Urs von Balthasar’s teaching on the beatific vision has been drawing scholarly attention. By building upon the works of Thomas Dalzell, Aidan Nichols, and Anne Carpenter, I advance the discussion by demonstrating that the dramatic and artistic-poetic grounding of Balthasar’s theo-drama shapes the way he understands the beatific vision. In his later work, Balthasar transposes the Catholic understanding of the beatific vision according to the art form and logic of drama. Specifically, using the notions of the visio immediata Dei and the visio mortis, he transposes the meaning of the beatific vision such that the divine essence is understood as a union of love in conversation with the Thomistic perspective of an immediate knowledge of God.

Самопрезентация пользователя в социальных сетях и проблема коллапса контекста

This article discusses the social problems of communication in social networks that provide a platform and tools for the formation of a virtual network identity. The features of the behavior of users of social networks and the tactics of their self-presentation when constructing a personal network profile are described. It is argued that in the process of social communication, people present different versions of themselves depending on their audience and adapting their own self-presentation to the perceived values and preferences of the interlocutors. The difficulties of online communication are described, where, unlike real interaction, the user does not have the opportunity to correlate his/ her behavior with the situational context and carry out differentiated self-presentation. The problems of blurring the boundaries of public and private in social networks and the loss of information privacy, which is a necessary condition for personal freedom and autonomy, are raised. It is argued that the disclosure of private information is an important component of maintaining social relations. It is noted that currently there is a transformation of cultural norms regulating the degree of openness-closeness and publicity-privacy. The concept of "context collapse" is introduced – a situation caused by the mixing of heterogeneous audiences with different social values, norms and expectations into one homogeneous group. The strategies are proposed to overcome the negative consequences of this situation: dividing the audience into several segments, self-censorship, forcing to avoid discussing controversial topics and adapting the user's language style, suggesting a reduction in language variability. The work was based on the methods of symbolic interactionism and I. Hoffman's theory of roles, which he used to build the dramatic theory of social interaction and self-presentation in social interaction.

Creative translation pathways for exploring gendered violence against Brazilian migrant women through a feminist translocational lens

ABSTRACT This paper explores how research on gendered violence among Brazilian migrant women in London has been translated through a range of creative engagements. It argues that these can challenge traditional forms of knowledge production, and advance intersectional feminist struggles through a logic of translocation. Yet it also challenges homogenous artistic encounters through developing ‘creative translation pathways’ which delineate different configurations of how researchers, artists, and participants using varied art forms . The paper focuses on two ‘creative translation pathways’ that capture different interpretative framings around the same research project. The first reflects a curatorial perspective through Gaël Le Cornec’s verbatim theatre play, Efêmera, which foregrounds her interpretation of Brazilian women’s stories adding a metatheatrical dimension to strengthen the narrative and connection with the audience. The second is a co-produced collaborative engagement, We Still Fight in the Dark, with community drama group, Migrants in Action, based around experimental workshops to produce an audio-visual film and installation where survivors’ perspectives and well-being are paramount. While both creative translation pathways reflected translocational feminist goals in raising awareness around gendered violence with a view to transform them, each had tensions around the individual, collective, artistic and therapeutic logics in the process of knowledge production.

Strategi Komunikasi Arja Muani Akah Canging Sebagai Hiburan Inovatif Di Desa Munggu Kecamatan Mengwi Kabupaten Badung

ABSTRACT One of the performances in Bali that is often performed is the arja dance drama, but in this millennial era, interest in arja drama dances has begun to decline. Arja is known as a classic theater with long and boring performances. The communication strategy was used by the Arja Muani Akah Canging group as an effort to attract the interest of the audience, from young to old. Arja muani Akah Canging provides a new atmosphere in presenting his show as innovative entertainment. The problems raised in this research are (1) what is the communication strategy of arja muani Akah Canging as innovative entertainment in Munggu Village, Mengwi sub-district, Badung regency? (2) what is the function of the communication strategy in staging arja muani Akah Canging as innovative entertainment in Munggu village, Mengwi sub-district, Badung district? (3) what are the implications of the arja muani Akah Canging communication strategy as innovative entertainment in Munggu village, Mengwi sub-district, Badung district? This study uses three theories to dissect the formulation of the problem, namely: the theory of turgi drama, the theory of structural functionalism communication, and the theory of rhetoric. This research uses qualitative methods by collecting data through observation, interviews, and literature studies. This study aims to examine the communication strategy arja muani Akah Canging as innovative entertainment. Based on the results of the study, this study found the following results: 1) The process of staging arja muani Akah Canging with the preparation, staging, final staging stages. As well as a communication strategy in staging the arja muani Akah Canging in Munggu village, Mengwi sub-district, Badung district. 2) The function of staging arja muani Akah Canging is the primary function as a means of entertainment for the community in religious ceremony activities. The secondary function is as a binder of community solidarity, as a medium for delivering government programs. 3) the impact of staging arja muani Akah Canging on culture, social, economy, education through art, and degradation of conventional arja. (Keywords: Communication Strategy, Arja muani, Innovative Entertainment)

Postdramatic Tendencies in Martin Crimp’s Fewer Emergencies

Martin Crimp has been one of the most prominent playwrights on the British stage since his first appearance. Although his oeuvre consists of absurdist and postdramatic plays, he translated classic texts such as Cyrano De Bergerac, Rhinoceros, The Seagull and The Misanthrope. Fewer Emergencies is a short play that forms part of Crimp's triptych, which also includes Whole Blue Sky and Face to the Wall. In Fewer Emergencies, Crimp creates a theatrical atmosphere that deconstructs the tenets of conventional dramatic theatre. In the playlet the characterisation is reminiscent of his earlier thought-provoking Attempts on Her Life, which had no obvious character attributions. In Fewer Emergencies he makes a similar kind of characterisation. He simply numbers the characters 1, 2, 3. In this way, Crimp creates an inspiring theatrical space. The aim of this study is to uncover the postdramatic theatricality of Crimp's Fewer Emergencies.

Macbeth by Estonian Drama Theatre (review)

Macbeth by Estonian Drama Theatre (review)