Drama

La dramaturgia de Moreto en su etapa de madurez (1655-1669)

by Marialuisa Lobato

AUTORES: Lobato López, Mª Luisa
TÍTULO: La dramaturgia de Moreto en su etapa de madurez (1655-1669)
REF. REVISTA: Studia Aurea, 4, 2010
ISSN: 1988-1088

Qué y cómo escribió Moreto en sus años de madurez, tras publicar su Primera parte de comedias Qué y cómo escribió Moreto en sus años de madurez, tras publicar su Primera parte de comedias

‘Verbum dicendi, verbum nuntiandi: el dramaturgo alerta a su público

by Marialuisa Lobato

AUTORES: Lobato López, Mª Luisa
TÍTULO: ‘Verbum dicendi, verbum nuntiandi: el dramaturgo alerta a su público
REF. REVISTA: Teatro de palabras, 4, 2010, pp. 139-157.
ISSN: 1911-0804

Entre las posibles marcas de segmentación del teatro español del Siglo de Oro, cabe afirmar que, si bien, la comedia... more Entre las posibles marcas de segmentación del teatro español del Siglo de Oro, cabe afirmar que, si bien, la comedia se estructura en secuencias mayores y menores -las llamadas macro y microsecuencias desde tiempos de Mª del Carmen Bobes , actualizadas por Marc Vitse y otros estudiosos-, otros elementos como los pasajes insertos, el empleo de espacio y tiempo, el posible tablado vacío y su función para distinguir cuadros, salidas y entradas de personajes, son todos ellos elementos que -combinados- tienen su protagonismo en la segmentación de la obra dramática.

Sin embargo, en esta aportación hemos querido destacar la voluntad palmaria del dramaturgo de ‘avisar’ a su público de la acción que se va a introducir por medio de los verba dicendi en los que un personaje presenta el discurso que seguirá, pero también de los menos observados verba nuntiandi a través de los cuales se anuncia la llegada de un nuevo personaje, la salida de escena de otros, la voluntad de marcharse o la obligación de hacerlo, de modo que la acción progresa entreverada con esas señales.

Estas marcas materiales, constituidas principalmente por verbos de acción que se sitúan pocos versos antes de que, en efecto, se produzcan salidas o entradas de personajes, cambios principales en los esquemas métricos y evolución en las acciones, son los ‘guiños’ que el dramaturgo hace a su público, como si quisiera centrar su atención y hacerle así más consciente del cambio que está a punto de darse.

Lo cierto es que, situados siempre en los puntos estratégicos de la comedia, aparecen ya en el Lope de Vega de principios de siglo, pero se intensifican de forma notable en otros autores cincuenta años más tardíos, como es el caso de Agustín Moreto. Otros análisis en diversos autores permitirían constatar la presencia o no de este tipo de marcas verbales, las cuales, al mismo tiempo que avivan el seso y despiertan al espectador que debe centrar su atención en un nuevo pasaje de la comedia, desvelan la estructura voluntaria de la obra por parte de su autor y la presencia en su mente del público mientras construye la acción.

Analisis Struktur dan Tekstur Drama Bunga Rumah Makan karya Utuy Tatang Sontani

by Dwi Oktarina

Struktur dan Tekstur Drama Bunga Rumah Makan karya Utuy Tatang Sontani Struktur dan Tekstur Drama Bunga Rumah Makan karya Utuy Tatang Sontani

Transformation in Scientific Americans and In Absentia

by Hugo Joly-Morin

Confessions of a Greek Player #4

by Andreas Andreou

Satyrica, Vol. IV, Issue 5 (January 2012), King’s College London Classics Society.

Confessions of a Greek Player #3

by Andreas Andreou

Satyrica, Vol. IV, Issue 3 (November 2011), King’s College London Classics Society.

Confessions of a Greek Player #2

by Andreas Andreou

Satyrica, Vol. IV, Issue 2 (October 2011), King's College London Classics Society.

Review of Kenneth Burke on Shakespeare. Scott Newstok, ed.

by Andrew Battista

Teaching British Women Playwrights of the Restoration and Eighteenth Century,ed. by Bonnie Nelson and Catherine Burroughs

by Helen Brooks

Women's Writing, May 2012

“The Concept of Metatheatre: A Functional Approach"

by Andrés Pérez-Simón

Published in "TRANS- Revue De Litterature Generale Et Comparee" 11 (2011).

Abstract

This essay reviews the highly popular concept of metatheatre or metadrama, whose first formulation... more Abstract

This essay reviews the highly popular concept of metatheatre or metadrama, whose first formulation appeared in Lionel Abel’s collection of essays Metatheatre in 1963. Abel’s contribution in the field of theatre studies took place in the wake of Roman Jakobson’s model of six linguistic functions, which Jakobson had introduced in a conference held in Indiana five years before the publication of Metatheatre. In my review of Jakobson’s model, I argue that neither the metalinguistic nor the poetic function can fully explain the existence of multiple self-referential, anti-illusionist devices in twentieth-century dramaturgies (a few examples from the modernist years are discussed in my essay). In order to shed new light into Jakobson’s model, I propose a return to the four-function model developed by Jan Mukařovský, the most important critic of the Prague School, in the late 1930s. Mukařovský expanded upon Karl Bühler’s Sprachtheorie (with the functions Darstellung, presentation ; Ausdruck, expression ; and Appell, appeal), by conceptualizing a fourth function, the aesthetic, one that brings to the fore the structural components of the artistic work.

Resumen

El presente ensayo examina el hoy muy popular concepto de metateatro o metadrama, que apareció por primera vez en Metatheatre, de Lionel Abel, una colección de ensayos publicada en 1963. Esta contribución de Abel al campo de los estudios teatrales se basó en el modelo de seis funciones lingüísticas de Roman Jakobson, que Jakobson había presentado en una conferencia en Indiana cinco años antes de la publicación de Metatheatre. Al analizar el modelo de Jakobson, argumento que ni la función metalingüística ni la función poética pueden explicar correctamente la existencia de múltiples mecanismos autorreferenciales y antiilusionistas en la dramaturgia del siglo veinte (en mi ensayo, hago mención a algunos ejemplos del periodo modernista). Para ofrecer una nueva lectura del modelo de Jakobson, propongo un retorno al modelo de cuatro funciones desarrollado por Jan Mukařovský, el crítico más importante del Círculo de Praga, a finales de los años treinta. Mukařovský expandió la Sprachtheorie de Karl Bühler (con las tres funciones Darstellung, presentación ; Ausdruck, expresión ; y Appell, apelación), al añadir una cuarta función, la estética, que destaca en un primer plano los componentes estructurales de la obra artística.

Dramatización de tres héroes mexicanos en “El juicio de Hidalgo” de Miguel Sabido

by Armin Gomez-Barrios

Publicado en la Revista de Literatura Mexicana Contemporánea, RLMC
UTEP, El Paso, Texas; Eón Ediciones; Tecnológico de Monterrey.
Número 50, volumen 18, noviembre de 2011. ISSN: 1405-2687

La dramatización de Miguel Hidalgo, Josefa Ortiz de Domínguez e Ignacio Allende que presenta “El juicio de Hidalgo” de... more La dramatización de Miguel Hidalgo, Josefa Ortiz de Domínguez e Ignacio Allende que presenta “El juicio de Hidalgo” de Miguel Sabido, recurre al discurso patriótico para consolidar su personificación como héroes de la Independencia de México, frente a su contraparte ideológica, que aquí no es la monarquía española sino la iglesia católica, cuyos integrantes se presentan como los villanos de la historia. La escenificación se distingue también por la utilización del lenguaje audiovisual propio de la televisión como recurso espectacular de la obra.

Anxiety and Fear in Children’s Films

by Halil Eksi

Rıdvan ŞENTÜRK
Educational Sciences: Theory & Practice - 11(3) • Summer • 1122-1132

Children’s movies bear so many significant features that it should be studied from many aspects. In fact, one ofmore Children’s movies bear so many significant features that it should be studied from many aspects. In fact, one of
the issues very often encountered in researches and analyses done so far, is the element of terror exposed in
children’s movies. Nevertheless, first how the basic feelings such as fear and anxiety are produced and formed
in children’s movies should be discussed so that the concept of terror can be fully perceived and evaluated. In
this context, the production and formation of terror and anxiety in children’s movies cause much more serious,
shocking and permanent influences than terror from the aspect of the psychology and education of children. As
a matter of fact, the feelings of fear and anxiety are not only the psychical influences caused by the applied violence
but also an essential reference nourished and expressed. In this respect, the issue how the feelings of fear
and anxiety are produced should be carefully analyzed and evaluated so that the scenes of violence in children’s
movies can be elaborated upon in depth. For this reason, in this study the concepts of fear and anxiety are defined
and again the historical traces of current culture of horror in movies are pursued, first to prepare the platform
for discussion. Moreover, the research includes the study of a children’s film, Harry Potter, which was chosen
as an example in light of the conceptual definitions mentioned here, whereby the techniques of expression
used in the production and formation of the feelings of fear and anxiety are revealed and expatiated upon. In the
last section of the research, we present suggestions on forming and sharing the conscience of responsibility as
well as on the realization of possible measures required for the protection of children against the potential dangers
pointed at in the field of movies and media.

‘Walsers hybrides Subjekt. Zur dramatischen Szene Die Chinesin/Der Chinese’

by Valerie Heffernan

in: Robert Walsers 'Ferne Nähe': Neue Beiträge zur Forschung, ed. by Wolfram Groddeck, Reto Sorg, Peter Utz and Karl Wagner, (Munich: Wilhelm Fink, 2007), pp.237–242.

Hosting Chekhov: A Reading of Brian Friel's Translation of Three Sisters

by Aidan O'Malley

Published in: Fionnuala Dillane and Ronan Kelly (eds), 'New Voices in Irish Criticism 4', Dublin/Portland, Four Courts Press, 2003, 115-124

"Mary Robinson and the Dramatic Art of the Comeback." Co-written with Terry Robinson. Studies in Romanticism 48 (2009): 219-256.

by Michael Gamer

Winner of the Nineteenth-Century Studies Association Article Prize prize for Best Essay, 2010.

The Birth of Tragedy in the Cinquecento: Humanism and Literary History

by Kristine Haugen

Journal of the History of Ideas 72,3 (2011): 351-70

As literary history stages a comeback as a method in contemporary literary study, it makes sense to ask about its... more As literary history stages a comeback as a method in contemporary literary study, it makes sense to ask about its antecedents. In the Renaissance, as it turns out, literary history was widely pursued alongside interpretive commentary and textual criticism. Perhaps the thorniest question Renaissance scholars faced in this field, as well as the most resonant for 21st-century readers, centered on the birth of tragedy in ancient Greece. What had been the tragedy's original form, and in particular, had it included music in any way? To attempt to answer was to engage with Aristotle's 'Poetics' in a very unfamiliar way, and moreover to compare Greek with Roman sources imaginatively and boldly. Angelo Poliziano, Francesco Robortello, Pier Vettori, and Francesco Patrizi da Cherso are discussed.

Performative Performances: A History and Theory of the "Copyright Performance"

by Derek Miller

Forthcoming in Theatre Journal

“Surprises that struck the hour”: The Tragic Muse and the Modernizing of the Jamesian Serial"

by Adam Seth Lowenstein

Polyvocally perverse, or the disintegrating pleasures of singing along

by Derek Miller

Studies in Musical Theatre 6, no. 1: 89-98

Contemporary philosophies of voice, like theories of the musical, rely on integration. But sound resists... more Contemporary philosophies of voice, like theories of the musical, rely on integration. But sound resists contextualization, integration and wholeness. Embracing the exhilarating possibilities of vocal play, I read Stephen De Rosa’s performance of a community theatre troupe’s version of ‘The Baseball Game’ from Falsettos as a sign of the inherent multiplicity of voice. In De Rosa’s vocal agility, I hear a transgression of the integrated voice and the assumption of a polyvocality in which voice refuses the claims of a singular, corporeal identity. But, like the musical, voice can find strength in disintegration. Singing along to cast albums – which, although they separate the sound from the show, permit the musical to reach a broader audience than productions alone – fans find pleasure in a cacophonous polyvocality that our voices are always ready to unleash, if only we set them free.

The Theatre of Transition: Boguslaw Schaeffer and the Polish Stage of the Brave New World

by Magda Romanska

Toronto Slavic Quarterly (2004) No.9.

ALLES is an original play. It has never been performed or published before. This translation is based on Schaeffer's... more ALLES is an original play. It has never been performed or published before. This translation is based on Schaeffer's own manuscript. The play tells a story of a Bonny-and-Clyde-style couple, a brother and sister, named Alles and Sorella, who team up to play a con trick on a group of job applicants. For Alles, the driving mechanism is the sense of power and self-importance in relationship to those whom he "interviews" for the position of his butler.The applicants are only recognized by numbers. They are dispensable and clueless. Like Ionesco's Rhinoceros, ALLES represents a brute force of iron will with neither scruples nor ethical consideration. A blend of Pirandello's self-referentiality, Beckett's grotesque, Durang's absurd cynicism and Vinaver's social critique of corporate structures, the play is an opus on the modern human condition.