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PurposeMuch in accounting research depends upon equity valuation. Too often, what the stock of publicly traded companies trade at is taken at its face value. Knowing that valuation is a function of performance relative to consensus security analyst expectations, more needs to be known about how these expectations are created and changed. The paper aims to assert that the guidance provided by top-level company management is important to the work product of analysts. The paper develops information from managers involved in these interactions.Design/methodology/approachSemi-structured interviews were conducted with 31 high-level executives employed by large USA companies in several industries. What those companies provided was interpreted through the theoretical lens of institutional theory and amounts to a qualitative content analysis approach to the subject.FindingsThe authors find that institutional theory well describes the important features of analyst guidance. Participants are aware of the broad societal interest that exists in the outcome of the guidance process. The participants accept the need for independent analyst opinions about their companies and their future prospects. In many ways, executives provide analysts more than just raw information and employ strategic structuring for analysts to produce expectations that will allow their companies a favorable pathway to future success as such is judged by the markets. The result is understood as being in the best interests of all market participants, even if it disproportionately benefits current corporate leadership.Research limitations/implicationsResults are dependent upon the interview process, needing the correct questions to be asked and the willingness of interviewees to speak their lived truth. The paper calls into question traditional capital markets studies that evaluate quantitative relationships between projected accounting balances and subsequent stock market prices as a literal truth or as the result of scientific calculation.Practical implicationsMarket participants should be somewhat more skeptical about companies that are routinely able to meet analyst expectations. To a large extent, such displays do not just happen but instead are manufactured to take place by virtual of a careful dance that is mindful of excesses on several sides.Social implicationsThe antagonistic interests of two important groups in the stock market is actually an unrecognized symbiotic dependency that prioritizes continued permission.Originality/valueThe accounting literature is very dependent on the work product of analysts. This is a rare opportunity to peak behind the curtain of their expertise in a critical fashion. The paper breaks ranks with the literature by trying to understand the thinking behind the narratives of capital market participants.

The study of the life and professional activity of Hryhorii Maksymovych Borakovskyi (1846–?), zemstvo doctor, doctor of medicine, forensic expert, public figure, writer, extraordinary personality, has been carried out. He made a significant contribution to the development of zemstvo medicine in Katerynoslav-Dnipropetrovsk region. Hryhorii Borakovskyi headed the district and zemstvo hospital in Novomoskovsk for 27 years, performed a large number of surgeries. As an expert, he was invited to participate in complicated forensic cases. His reports about visits to hospitals in Moscow, Odesa, Palestine, Prague are of educational importance. Doctor H.M. Borakovskyi also occupies an honorable place in Ukrainian dramaturgy. He is an author of many vaudevilles, comedies, and dramas (the most famous one is «Marusya Churai»).

The article discusses some aspects of the reception of Oscar Wilde’s fairy tale The Selfish Giant by the Russian symbolist poet and translator Ellis (L.L. Kobylinsky; 1879–1947) as reflected in archival sources and memoirs of his contemporaries. Particularly, Ellis’ participation in theatre performances for children and his interest in the forms of juvenile literature are considered within the framework of his overall poetical activities. Among these plays, a piece entitled The Garden of the Giant which is based on Wilde’s tale The Selfish Giant is to be mentioned first and foremost, since Ellis himself attributed great importance to this work making several attempts to publish it separately and even trying to convince a Moscow modernist publishing house Musaget to implement his rather extraordinary plans. The article also attempts to demonstrate that Ellis’ passion for Wilde’s literary heritage can be traced in his own subsequent work as his second collection of verse Argo (1914) proves it. As, I argue, its first section entitled Snuffbox with Music has been developed under the influence of Ellis’ previous work on juvenile performances, which manifests itself in dedications, the texts of the section borrowed from the juvenile plays as well as through the motivic structure of this cycle.

Every architect has a different view and thought about something in designing a building. The basis of ideas design to a building is gained from experience, imagination, creativity, education, etc. Every professional architect also owns cognitive to express how the architecture works implemented through the design of a building. In architecture, there is a theory that connects drama and architecture in everyday life, dramaturgy. This article aims to see the concepts of dramaturgy in the works of the architectural consulting bureau responsible for, Omah Boto building, Aceh Tsunami Museum, and Phinisi Unm Tower. This study uses a qualitative method with data collection carried out using literature studies. Furthermore, the analyzed data is then presenting in descriptive for a more informative series. Data analysis aims to explore the relevance of the dramaturgy application in architecture to the thinking of architects in Indonesia. The results of the study show dramaturgy in architecture is used as a match between contemporary theater art and architecture. All three architectural consultants have used elements of dramaturgy in the design process. The three architectural consultants have used aspects of dramaturgy in their design process. The application of the basic concepts of dramaturgy used is an exterior setting of the building, Goals or ideas, building layout settings, visual instructions, and motion direction.

Dramaturgical perspectives have been used successfully in the past by crisis management researchers. However, previous contributions have been limited because they have been actor-centered, which has meant that they have tended to ignore the critical role that an audience can play in the drama of a crisis. This article therefore presents a “third act” in which dramaturgical perspectives are used to deliver an actor-and-audience centered analysis of crisis management. This third act is built around the dramaturgical concept of “characterization,” which we introduce to assess how an audience receives the symbolic outputs and discourses that are produced by crisis actors. After this theorizing, we present an analytical model, which will allow future researchers to analyze the interplay between actor, audience, and legitimacy when examining crisis. We conclude by illustrating the model's analytical capacity via an examination of the role of leaders and experts during the COVID-19 pandemic.

A dramaturgia da peça em um ato In our Profession, de Tennessee Williams, coteja a figuração dramatúrgica estereotipada das coristas, identificada em diversas obras de sua fase inicial. Com essa identificação, este trabalho revelou a mulher retratada de forma satírica, em contraponto com o papel social de gênero. Denotou, também, o emprego das formas expressionista e épica não brechtiana para dar conta do conteúdo crítico social no retrato destas showgirls. A abordagem contemplou a análise de expedientes estéticos e históricos da conjuntura da peça. Por fim, apresentou o dramaturgo como um crítico sociopolítico que utiliza diálogos líricos inspirados em roteiros cinematográficos da década de 1930.

The internet and social media have radically transformed grief, mourning and memorialisation. This article addresses how online death announcements (ODAs) (where bereaved people use social media platforms to share news of a loved one’s death) are extending beyond the role of public death notification previously limited to newspaper-published obituaries. We argue that ODAs are social performances embodying a diverse range of grief responses and offer a significant new direction in death scholarship. We draw on semi-structured interview data with nine people who announced the death of a loved one on Facebook, Instagram or Twitter. Using Erving Goffman’s (1959) dramaturgical framework to interrogate this data, we argue that ODAs go beyond purely information-sharing devices and are, instead, complex performances which benefit mourners in a number of ways and are governed by tacit ‘rules’ of permission and content. To make sense of this, we analyse in turn the role of, and collaboration between, the ‘actors’ who post ODAs, the ‘performance’ of the ODA itself, and the ‘audience’ of friends/followers who ‘receive’ the ODA. We reveal that ODAs are social performances possessing multiple modalities and reveal the depth of complexity present in grieving online.

Comprender a las organizaciones es esencial para entender la construcción de la dinámica social contemporánea. Con la superposición cada vez más evidente entre comunicación, sociedad y cultura, es necesario develar las complejas relaciones que las organizaciones establecen en la sociedad mediatizada. El presente artículo pretende explorar la teoría de la dramaturgia social de Erving Goffman y su aplicación en el contexto organizacional mediatizado, articulando algunos aspectos centrales de las organizaciones contemporáneas: comunicación organizacional y estratégica, mediatización y cultura de innovación. Para esto, realizamos una revisión de la bibliografía académica referida a estos conceptos, relacionándolos con la teoría de la dramaturgia social, para luego reflexionar sobre la metáfora del escenario en el entorno contemporáneo. En las escenas de interacción en la sociedad mediatizada se revisan los roles de los actores organizacionales y se reconfiguran los escenarios, creando nuevas posibilidades para las organizaciones, así como desafíos y oportunidades para la comunicación organizacional.

The article discusses the emergence and development factors of the drama genre in Chinese literature. There is also information about the genre of drama and its development in Uzbek and world literature. In Chinese literature, the first drama genres in the development of the drama genre were called "siven" (戏文) or "nansiven" (南戏). During the Yuan Dynasty in the 13th and 14th centuries, a genre based on strict law, zaju (杂剧), flourished. In the XIII-XIV centuries, playwrights Guan Han Qing (关汉卿), Wang Shi Fu (王实甫), Bai Pu (白朴), Ma Zhi Yuan (马致远) played a role in the development of the above-mentioned dramatic genres. By the seventeenth and eighteenth centuries, the Chuanzi genre had emerged in dramaturgy. This article also discusses in detail the creative work of playwrights such as writers Li Yu, Hong Shen, Kun Shan Jen in the development of this genre.

When Fox 21 Television Studios announced that Laverne Cox would play the role of Frank N. Furter in their 2016 The Rocky Horror Picture Show: Let’s Do the Time Warp Again, most public response circled around how Cox’s visible political identity as a trans woman spoke to the problematic nature of Rocky Horror’s language and dated identity politics. Released in 1975, Richard O’Brien and Jim Sharman’s The Rocky Horror Picture Show has been a touchstone of queer popular culture for more than forty years. Rocky Horror is constructed as a self- conscious pastiche of multiple cultural moments and queer coded pieces of popular culture; Gothic literature, classic Hollywood film, science fiction B movies, Glam Rock, and drag all mingle in the queer cultural collage that makes up the show’s dramaturgy. As such, the scope of Rocky Horror serves as a kind of performative queer archive, collecting and performing generations of queer culture. However, in addition to offering a dense collection of queer cultural artifacts, Rocky Horror has also inherited many of the complicated representational aspects of its sources, such as the racist coding and simultaneous racial erasure of Gothic and horror conventions as well as rapidly changing and often conflicted trans identity politics of the mid- twentieth century. These problematic appropriations and omissions become all the more salient in light of Cox’s 2016 performance. In this article, Crookston examines how Rocky Horror has functioned as a performative queer cultural archive and how Danny Ortega’s remake, starring Cox, challenges, complicates, and excavates O’Brien’s original historiographic dramaturgy.

Relevance of the study. The batyar subculture has already become the subject of many scientific works of Polish and Ukrainian researchers as a social phenomenon with its own jargon and cultural traditions. In particular, this issue has become central in the works of U. Jakubowska, A. Kozytsky, O. Kharchyshyn, Y. Vynnychuk, N. Kosmolinska, W. Szolginia and others. Batyar songs as a layer of Lviv city music got a new life thanks to the creativity of V. Morozov, realized in the publication of three albums with neobatyar songs. This group of songs and its genre and intonation parameters have not yet been at the center of musicological research and open up new perspectives for learning of genetic links between urban music and popular contemporary music in Ukraine.The purpose of the study is to analyze the genre and intonation features of Viktor Morozov’s albums, the principles of their cyclization, to explore the genetic links between batyar and neobatyar songs.Results and conclusions. Each of the three albums “Only in Lviv” (“Tilku vi Lvovi”), “Heart of the batyar” (“Serdtse batiara”) and “Batyarsky blues” (“Batiarskyi bliuz”) reveals itself as a large genre, which structure builds an expanded musical dramaturgy. In many aspects, it is connected with principles of the cyclization of academic genres, in particular, the vocal cycle and the program suite. The basis of the dramaturgy development of the albums was the method of contrast at the level of thematic, genre, tempo-metric organization. In addition, all three albums actually formed the one line of transformation of batiar songs from the authentic sound of songs from the period of the 20–30s of the twentieth century, and to new author’s — neobatyar songs, there were created on the basis of modern genres.New plots and themes of the verbal text of neobatyar songs also directly appeal to the original period of the first Lviv batyars at the beginning of the 20th century. The love adventures of the batyars, the struggle for authority and respect among the representatives of the subculture, the love for the native city, the glorification of fearlessness, life with not burdened by laws and fear became the main topics in neobatyar songs too. A characteristic local dialect is preserved, including a combination of vocabulary of various language systems; the use of lexical distortions, obscene vocabulary takes on a new embodiment through modern neologisms, borrowings. Songs are still performed exclusively by men, and the main genre outline is dance, including polkas, waltzes, tango, staer and others. The phenomenon of the double nature of batiar songs is organically embodied, where folklore and author’s songs are expressed through a combination of anonymous and original songs of the prewar period and neobatyar songs created by the authors of the albums. The nebatyars headed by V. Morozov in the albums “Only in Lviv”, “Heart of the batyar” and “Batyar blues” deliberately appeal to the layer of batyar songs, aiming to give new life to the old batyar song genre in the context of modern musical trends, to save the unique phenomenon from oblivion, rethink them in the context of the realities of our time. Thanks to the conceptual approach to the creation of the aforementioned albums, the authors managed not only to organically continue the musical traditions of batyar songs, but also to give them new life at a fresh, even brighter artistic level.

Why Are Hungarian Films Bad? This oft-quoted question was the title of a film, released in 1964, thematizing the unsolved and confused conditions in Hungarian cinema. This study analyzes the discou...

It is historically known that many dramatists were sort of adaptors. Playwrights have often used myths, poems, historical events or even earlier stories as their source material but with literary verbatim theatre (the most text-based of all verbatim subcategories), the audience deals with facts found in the original words of a real figure who wrote privately and not for publication. Consequently, some have accused verbatim theatre growing in popularity of lacking creativity claiming that it is not even produced by a playwright while others have disagreed since it undergoes a selective editing process indicating that it is ultimately a creative process. This way the play is filtered by a playwright who goes by the name of an “editor”. Selecting the archives and arranging the given material, is a very subjective process that owes as much to an artist's predilections as to any rule of dramaturgy. Alan Rickman and Katherine Viner's My Name is Rachel Corrie (2005) was developed from one hundred eighty-four pages of a young American activist's unpublished writings, including diaries and e-mails, that were given with her parent's permission. The twenty-three year old American was killed in the Gaza Strip by an Israeli defense bulldozer as she attempted to prevent destruction of a Palestinian family's home. The play with its unresolved conflict over Palestine in addition to its cancelled production in the United States a number of times has made it a true controversial literary verbatim play. My paper aims at expounding the abovementioned points of view shedding the light over where they meet leading to the understanding of what John Grierson defined as “the creative treatment of actuality”.

Shakespeare’s Othello has been staged overwhelmingly through the racial relationship between the two protagonists, Othello and Iago, at the expense of another protagonist, Desdemona, partly because of the prominence of racial and military perspectives in European modernity, and partly because of the relatively scarce textual presence of Desdemona. Despite the tremendous efforts and contributions of feminist criticism to rectify the imbalance, this female protagonist has been enclosed in the realm of a patriarchal framework that divides women between ‘chaste wife’ and ‘villainous whore’. Miyagi Satoshi’s adaptation and staging of Miyagi-Noh Othello, presented at Shizuoka Arts Theatre in 2018, was a remarkable attempt to address this issue, by transforming the whole play into a memory recollected and enacted by the Ghost of Desdemona, through utilising the Japanese ‘Mugen-Noh’ format. Through his mimetic dramaturgy employing the ‘division of speech and movement’ method, Miyagi succeeded in recovering not only Desdemona’s testimonies regarding her affectionate and passionate relationship with Othello but also multiple women’s ‘her-stories’ hidden and disregarded by male-centred histories authorised by the Venetian ruling class. The detailed analysis of Miyagi’s unique and innovative production will unravel the complicated relationship between actors’ words and their bodies in theatrical productions, as well as offer a fresh insight into the hitherto underrated aspect of Othello as an alternative story of inducing everyone’s suffering into spiritual atonement by reviving the love which has always already been present even in a society torn by racism, genderism and militarism.

The goal of this research is to reveal the peculiarities of reception of the novel “What is to be Done?” by N. G. Chernyshevsky in the Soviet dramaturgy of the 1920s – 1930s. These texts fully reflect the concept of state order, the pursuance of “socialist realist” normatization, and thus, most vividly demonstrate the specificity of functionality of the fundamental mythological concepts in semantic field of the Soviet literature. Particular attention is given to the plays by V. N. Bill-Belocerkovskij and A. Glebov. The article also employs the works of A. Neverov, V. Vishnevsky, A. Afinogenov, who largely determined the dramaturgical image of their time. The work is conducted within the framework of the mythopoetic approach, using structural-semiotic and intertextual methods. The relevance is substantiated by the need for a more comprehensive examination of the literary discourse of the 1920s – 1930s. The scientific novelty consists in attraction of an array of little studied texts of the “official” Soviet dramaturgy for identification of the cultural and literary sources of the image of “new people”, which determined the functionality of this mythologem in the literary discourse of the 1920s – 1930s. The conducted research demonstrated that in the period of post-revolutionary culture, the novel “What is to be Done?” by N. G. Chernyshevsky acquires the status of a sacred text, becomes the focus of intertextual overlap of dramaturgical texts, as well as one of the foundations for the formation of the Communist myth of the “new people” common to literature of that time. The works of the official Soviet playwrights are characterized by the declaration of continuity with regards to the novel, which in their works is demonstrated on the level of plot, themes, ideas, particular images, and separated details.

This article focuses on A. Obidjon, who played a special role in the development of children's poetry and prose. At the same time, the artist, who thinks about the development of Uzbek children's drama, has created a dramatic epic, a play. Anvar Obidjan is an artist who has enriched not only children's prose and poetry, but also dramaturgy, as a children’s poet, known as a prose writer, he won the admiration of his fans with his dramatic works

Fernando Pessoa’s plays or just a few fragments of these have been staged in Portugal over the past sixty years, alongside the author’s poetry. In this essay we take as an example the experience, in the first person, of dramaturgical creation and staging based on texts from Fernando Pessoa’s static drama, in order to demonstrate that these plays give contemporary creation a theatrical aesthetic that is not defined by the literary form or category but by the characteristics that come from a meticulous choice of words by the author. STATIC DRAMA / INTERIORITY / DRAMATURGY / SILENCE / THEATRICAL AESTHETICS

PurposeThe Forest Stewardship Council (FSC) intends to promote responsible forestry through its certification scheme. The primary engine that drives this promotion is auditing. Audits serve a dual purpose: they make forest managers accountable for their claim of meeting the FSC standard, and they make the actions of auditors and auditee account-able, or able to be put into an account. The latter of these is rarely investigated, despite it being crucial to understanding how FSC audits are done.Design/methodology/approachThis article examines FSC forest certification audits as practices where the FSC standards gain meaning. In-depth analysis of these practices enables insight into how different values related to forest certification and auditing are articulated and negotiated in practice, characterizing particular modes of auditing. In this paper, the authors examine the practices of FSC forest management auditors in multi-day audits in Africa and in Spain. Their materials were analyzed and coded using Goffman’s elements of dramaturgy.FindingsThe authors’ findings show that auditing practices entail a series of nested performances in which the auditors and auditees interact together and in which front stage and back stage performances constantly alternate as auditors and auditees perform for each other and simultaneously for an absent audience.Originality/valueThe authors’ analysis demonstrates how in these performances, professional values related to following auditing rules and ensuring that audits are rendered account-able in a particular way take a prominent position. This risks overshadowing the accountability of the FSC system which is ultimately grounded in its ambition to improve forest conservation and management.

The article reflects on the connections between the Polish drama of the interwar period with such stage performances as a nativity play, farce, cabaret, and circus. The text attempts to point to the possible inquiries into this important problem of the dramaturgy of the 1920s and 1930s. The author concentrates on Adam Polewka himself and his political farse plays, especially the record of Igrce w Barbakanie, a performance prepared for the Cracow Days in 1938. She reads critically the introduction to the post-war edition of this text. In her opinion, this authorial commentary includes precious information about such stage forms of the interwar period as a farse play and circus.

El teatro contemporáneo recurre con frecuencia al uso de audiovisuales, práctica que tiene su origen en la misma invención del cinematógrafo. Las relaciones entre cine y teatro, además de trasponer códigos del uno al otro, han permitido transferir también su semántica, al punto de configurarse la videoescena como un elemento dramatúrgico de la escenificación. Este trabajo busca analizar cómo tienen lugar las relaciones intersemióticas entre el lenguaje audiovisual y el escénico cuando se incluye la videoescena en la dramaturgia teatral. Para ello se revisa una breve historia del audiovisual en el teatro y la terminología existente, que permiten extraer conclusiones tomando en consideración espectáculos de referencia, tanto de ámbito español como internacional.

Poeta, músico e dramaturgo do pré-renascimento espanhol, Juan del Encina (1468- 1529) foi patriarca e um dos mais importantes fundadores da dramaturgia ibérica. A veia teatral de sua obra musical apresenta, por um lado, ainda uma direta continuação do Auto Medieval, composição teatral de linguagem simples e extensão curta, e por outro uma já distinguida qualidade Renascentista. Seus poemas são concebidos para serem cantados e cada um deles forma um brevíssimo e sintético ato dramático. A forma literário-musical do Romance é largamente utilizada na obra de Encina, que se encontra também desmembrada em outras formas como as Cantigas, as Tonadas e os Villancicos signos de uma obra marcadamente étnica. De inspiração popular, sua obra transita entre eras de tradição oral e escrita da transmissão das habilidades e da cultura musical. Os textos e a música de Encina compõem uma unidade expressa em melodias pungentes e ritmos fortes através da força dramática de temáticas como o amor, a dor, a religiosidade, e a sátira. Estudando e considerando todos estes importantes elementos criadores e instituidores da obra de Encina, propomos uma análise macroestrutural visando o arranjo e a performance musical comentada de algumas canções do referido autor, exemplificando e trazendo a tona o vigor e a dramaticidade contextual do teatro musical espanhol na obra de Juan del Encina.

In Australia a vibrant tradition of participatory and often politically motivated performance work developed under the term ‘community arts and cultural development’ across the 1980s, 1990s and early 2000s. In this body of practice, considerations of ethics are articulated through process, practices and representation rather than content. Though effective, community arts as it developed in Australia is often time, resource and emotionally intensive for artists, community participants and audiences. In recent years, retraction of funding, as well as shifts in practice towards live art, performance art and relational aesthetics have reduced the resources available for these once prominent practices. Practitioners are confronting challenges and needing to develop new ways of working in an operating environment where long-term consultation is not necessarily possible or preferred by stakeholders. In this article, we reflect on the current state of play for practitioners seeking to develop ethical dramaturgy in performance works that collaborate with communities to tell life stories or represent participants’ lived experiences in Australia. Through examples from our own practice, as practice-led researchers, we consider how work in this sector is under strain and experiencing scarcity, precarity and an increasing lack of access to institutional resources that have historically enabled ethically rigorous dramaturgical practices. We aim, through this process, to rediscover and rearticulate an ethical dramaturgy for deployment in the Australian environment as it exists today.

The subject of this research is the Shakespearean motifs in dramatic compositions of Anna Akhmatova. The research material contains the works of later period – draft of a movie script “On Pilots, or the Blind Mother”, and drama “Enūma Eliš”, which was destroyed and later restored by the author with numerous authorial commentaries and remarks. Akhmatova carefully examined the “Shakespeare question”, was familiar with his texts in the original, as well as translated a passage from “Macbeth”. She was well-versed in the historical connotations of Shakespeare's tragedies, considering Mary Stuart the prototype of Queen Gertrude and Lady Macbeth, and at the same time, rejected this image applicable to herself and her “alter ego” in literature. The main conclusions of this work consists in determination of the peculiar semantic tone of the set of motifs associated with “Hamlet” and “Macbeth” in dramaturgy of Anna Akhmatova, which includes: usurpation of power and envy of the rightful heir, mother – son conflict projected not only on Shakespeare's dramaturgy, but also on mythology, and through mythology on the author's poetry, motif of “drama within drama”, where masks and pseudonyms disguise the inward nature of the author. The direct and indirect quotations from “Hamlet” and “Macbeth” correlates the indicated set of motifs with biography of the author in “On the Pilots, or the Blind Mother” and “Enūma Eliš”, which substantiates the novelty of this research.

The sting to Aristophanes’ ‘little tale’ in Wasps (λογίδιον, Vesp. 64) materializes from the comedy's interplay with the Oresteia. This article argues that Aristophanes alludes to both Agamemnon and Eumenides in the scenes running up to (and including) the trial scene, and that he exploits this intertext in the cloak scene (Vesp. 1122–264). While isolated allusions to the Oresteia have been identified in Wasps, a systematic consideration of these references has not been undertaken: a surprising absence in discussions of the ongoing competition between the comic and the tragic genres permeating Wasps’ dramatic action. Moreover, Aristophanes’ engagement with the Oresteia offers a special type of tragic intertext, in which the first and the last plays of a connected trilogy are referenced simultaneously, provocatively destabilizing the original. Furthermore, this allusion has implications for our understanding of a scene which recent scholarship has established as pivotal within the comedy, namely the cloak scene. The first part of this article, therefore, establishes the extent of Wasps’ engagement with the Oresteia and considers the significance of the ‘pastiche’ formed through the combined intertextual references to Agamemnon and to Eumenides. The second part explores the impact of this intertext on the interpretation of the cloak scene, revealing that its use of costume can be understood as a criticism of Aeschylus’ dramaturgy, inviting a negative reading of Bdelycleon's ideological stance and reinforcing the play's pessimistic view of the Athenian law courts.

The purpose of the article is to analyze and develop stylistic features of L. Beethoven's sonata cycle for a more accurate reproduction of the play's dramaturgy. The following research methods are used in the work the next. There are historical and cultural approach (research and analysis of works dedicated to L. Beethoven's creative heritage); method of comparative style analysis and general system-structural approach (comparing the problem of the era and its development); the traditional method of source studies as a historical discipline (the work is based on existing sources). Scientific novelty is to identify the peculiarities of creativity and specific performance of works by L. van Beethoven, from the point of view of the contemporary performer, characterizing the attitude of the composer to accurate performance, classification of means of expression and their use precisely when performing works on the piano. Conclusions. From the very beginning of the work on the sonatas, the pianist should pay attention to the stylistic features of the performance of Beethoven's sonatas. Taking a leading role in the study of the author's text, stylistics gives the work a unique sound, and the skill and the right approach maximize the performer of the playwright's reproduction of the play. Getting acquainted with Beethoven's sonatas requires a meticulous attitude to the applicative, dash dynamic notes and pedalisations written by the composer himself. The unity and interaction of the means of musical expression, such as: dynamics, fingering, pedaling and strokes, plays a special role in the performance of L. Beethoven's sonata cycle and brings the pianist closer to the most accurate transmission of the composer's creative intent. Condemning the carelessness of the execution of the author's instructions, Beethoven requires not only accurate, but above all expressive of their execution. Thus, the composer draws the artist's attention to their content.

The purpose of this work is to determine the features of choral drama in the opera «Katerina» by M. Arkas. It is based on research into the legacy of M. Arkas, it was determined that the opera «Katerina» is the first example of the embodiment of Shevchenko's poetry in the opera genre. The methods of this research are based on the application of historical-contextual, intonation-dramaturgical and structural-functional approaches of the investigation. A comparative analysis of Shevchenko's poem and opera libretto revealed differences that contributed to the strengthening of the psychological side of the drama. The scientific novelty lies in the fact that in this study for the first time in domestic musicology the peculiarities of choral drama of the opera whole are revealed, the dramatic functions of the choral factor in the process of operatic action are determined, the specificity of Taras Shevchenko's poem is revealed. Conclusions. As a result, of the analysis of the choral drama of the opera «Katerina» it is established that the choral scenes of the opera reflect the changes in the fate of Kateryna. In the first act, M. Arkas showed the environment where the heroine grew up, and in the third – another – the Muscovites, from which she chose a lover who betrayed her, abandoned not only her but also her own son. The contrast between the images of Ukrainian rural youth and Muscovites was reflected at the level of the choral drama of the opera. The generalized image of rural youth, patriotic, admiring the beauty of their native land – paradise, is opposed to the image of offenders-Muscovites, humiliating an exhausted woman with a baby in her arms. The dramatic functions of the choral factor are determined, a namely – genre-domestic contrasting background, effective-dynamic, patriotic and symbolic occupations.

The paper analyzes grotesque literary caricature of the exotic Orientals in Tariq Ali and Howard Brenton's play Iranian Nights. The focus is to elucidate how the writer market margins by creating caricatural and exotic characters that generate laughter and comical wit for the international readership. The research has two folds i.e. on one level it will discuss the caricatural features in characters to understand the underline meaning for the use of such distorted and exaggerated art form in a modern play. On the other hand, the paper will have an investigative stance into the dramatic techniques used ancient grotesque plays to find out the significance of such a dramaturgy in the business of exoticism. The research broadens the scope as it presents an art form that depicts a grotesque caricature exoticizing the third world's other Orientals to market margins.

In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and extrapolate it to the formation of composition and thematic dramaturgy in the genre of piano concerto. Methodology of research: biographical method that highlights the context and motivation of writing music works, including piano concertos, analytical and comparative method allows identifying patterns in the development of the compositional form of piano concertos. Results and conclusions. Mozart's piano concertos in the context of interaction with the composer's opera and theatre activities are considered. A synchronized chronography of his piano concertos and operas is provided. It was found that the interdependence does not lie in the intonational affinity of the thematic material of works written in one year (although there is some similarity of themes in several works). Piano concertos, which Mozart wrote during his life (unlike violin concertos, which almost all were written in one year – 1775), demonstrate an evolutionary slice of his work, in the depths of this genre formed a new approach to its composition, which is an important link formation of a piano concerto of the XIX century. Piano concerts are analyzed in terms of trends in the formation of musical themes: almost all works are polithematism in the main parts. Regarding the distribution of themes in the double exposition, there is also a certain tendency, namely in the appearance of part B (or part B2) in the soloist's exposition. Mozart preferred a new keyboard instrument with percussion mechanics – the pianoforte. It met the agogic and dynamic needs in the development of thematic material. Mozart's desire to be recognized as an opera composer in Vienna faced many obstacles - from the established rules of the genre and the dominance of Italian opera on the Viennese stage to even restrictions on thematic development (respectively, intonation and dramaturgy development of the characters). However, it was his opera characters that inspired the composer to create bright themes in instrumental music, including piano concerts. We can say that his piano concertos are a kind of theatre for instruments, in which events develop according to the rules of theatrical dramaturgy. The significance of the research. The article proposes a comprehensive approach, which clarifies how the creative method of Mozart is formed. The analysis of the main tendencies in the development of the intonation form of piano concertos revealed regularities that allow us to speak about the composer's creative motivation, and is a contribution to Ukrainian research of the Mozart’s music works.

The primary concern of this study is to explore the dramatization of the story of Archbishop Thomas a Becket, in three different plays by three prominent playwrights. These plays are Tennyson’s Becket, Eliot’s Murder in the Cathedral, and Anouilh’s Becket, or the Honour of God. The study examines the three plays in the light of their manipulation of the details of Thomas Becket’s contest with Henry II. The shifting relationship between the two men raised fascinating questions that were considered useful materials for playwrights. From the narrow confines of historical conflict, each of the three writers presented a unique artwork of a different dramatic vision. Through shedding light on the tale of the murder of Thomas Becket, this study highlights the significance of his fatal conflict with King Henry II to each of the three dramatists. First, it investigates how Tennyson’s primary purpose was to write a work of “documentary” authenticity. Then, this paper clarifies how Eliot’s interpretation of the play is a religious symbolic one. It also explores how Anouilh’s employed the Becket tale to present his perspective of the dilemma of twentieth-century man. Thus, the purpose of this paper is to demonstrate how the different interpretations of the story in the three plays are not only distinctive in themselves but are also, in varying degrees, relating the past to the present.

The political, economic and social movements that occur in each country and around the world can be themes and / or influences on the language conception of an artistic work. This article aims to understand one of the elements of the scene, the costume, as a political instrument, a manifesto, investigating whether it is possible to manifest these creative influences also in an authorship of the costumes designed for a performance, in order to compose the dramaturgy. Three stage costumes, in three different political contexts, are analyzed in this study: from Mexican political violence to the polarization of Brazil during the 2018 elections, going through the refugee crisis that marked and marks world history. Keywords Costume Design. Politics. Performance. Culture. Revolution.

Luiz Beltrão Cavalcanti de Albuquerque Maranhão Filho, é pernambucano, nascido na capital Recife, em 01 de janeiro de 1933. Do pai herdou o nome e a vocação profissional. Ambos com atuação na centenária Rádio Clube de Pernambuco. A emissora tem como data de fundação o dia 06 de abril de 1919. Foi na citada estação de rádio, que o pai, diretor de dramaturgia, contava com o filho para interpretar vozes infantis nos radiodramas que produzia. Os primeiros passos do então garoto, rumo à profissão, foram iniciados no ano de 1940, de onde a caminhada não mais parou. Tornou-se dramaturgo, jornalista, advogado, professor universitário, doutor em comunicação e autor de trinta livros. Sendo que a atividade de escritor prossegue, assim como o trabalho no cargo de presidente do Instituto Histórico de Olinda. Luiz Beltrão Cavalcanti de Albuquerque Maranhão Filho, from Pernambuco, born in the capital Recife, on January 1, 1933, inherited his father's name. Radio broadcaster, with professional performance at Rádio Clube de Pernambuco. The radio station was founded on April 6, 1919. It was on this centenary radio station that the father, director of dramaturgy, counted on his son to interpret children's voices from the editions of radio soap operas and radio theaters he produced. The boy's first steps towards the profession he would follow from there on, began in 1940. From there, he never stopped. He also became a playwright, journalist, lawyer, university professor, doctor of communication and author of 30 books. Being that, the activity of writer continues, as well as the work in the position of president of the Historical Institute of Olinda.

Os estudos literários brasileiros, depois de manifestações esparsas no período colonial, representadas pela atividade de academias literárias fundadas no século XVIII, só se expandiram efetivamente ao longo do século XIX. A produção literária nacional cresceu em quantidade e qualidade, assim como os estudos literários, que, por um lado, eram demandados por esta produção – a qual, afinal de contas, necessitava ser estudada e avaliada -, mas, por outro lado, estimulavam esta criatividade, ao estabelecerem como critério de valor o alinhamento da ficção, poesia e dramaturgia com a agenda nacionalista. Como resultado, de 1820 a 1880, os estudos literários no Brasil passaram por um período de expansão e diversificação. Se nos anos 1800 a educação literária foi conduzida no ensino de segundo grau, de 1930 em diante cursos de literatura em nível universitário começaram a estabelecer-se no Brasil. Neste artigo, faremos uma breve introdução à crítica e à historiografia literária brasileira, desde seus primórdios até o presente.

This article explores the application of theatre and performance pedagogies to broader contexts of interdisciplinary teaching and the increasingly diversified student body. It further attends to th...

Film Pink Pastel with visual documentation, animation and live action (called Trisikon; three situation and condition) is used in response to the dangerous phenomenon of ‘ idam pica’ ( pica cravings ) . The writer tried to make a film that is not a cliche, not just a play of dramaturgy, gesture, mimic, and exploratory dialogue from the actor himself. The author explored the visual (mise en scene) by dissecting cliches and not cliches artwork. All action ranging from phenomena, maternal ecstasy, to visual realization. It is intended to create random Audio visual spaces, chaotic, and broken. The combination of documentation, animation, and live action in this film is able to realize the Deleuze’s Logic Sensation theory, that there were two powers owned by chaos at the same time, destructive power, and life power. The modified form in the film Pink Pastel can help the filmmakers to open the possibility of wider cinema visual.

As a theme, the coups, which left important and deep traces in Turkish political history, have been covered in many films in Turkish cinema. It was seen that these films describe the deep wounds inflicted on the people who have been subjected to the coup, and Anons was found worthy to study on grounds of being a film shot on the lens of the coup plotters. This study has been created for the dramaturgical analysis of Anons, a film that has received awards both nationally and internationally and been criticized by the film authorities since its shooting in 2017. In the study, both the main events and the side events that constituted the conflict were examined in the analysis of the script elements of the film under the cinema dramaturgy techniques. In the study, information about other films that share the same plane as the theme has been given, and the place, differences, and similarities of Anons among these films have been tried to be determined. Anons, which is thought to influence future films as black humor, can be considered to leave important marks in the art life of Mahmut Fazil Coskun, who is the director and co-screenwriter of the film

Over the centuries, church liturgical practice has formulated perfect musical forms, the structure of which is built on internal genres, united by the common idea of all parts. The classification of their musical dramaturgy is determined by the musical-philological component that builds the liturgical and artistic integrity of the cyclic form of the work. This form is represented by the Easter canon, which holds a special place among all works of Byzantine hymnography.The purpose of the research is to consider the compositional structure of the Easter canon genre in the context of its theological and musical-poetic content.The methodology of the research is based on a comprehensive music-analytical, theoretical and historical analysis.The scientific novelty of the research is a comprehensive study of the canon genre from the point of view of establishing relationships at the level of melos, poetics and liturgical content.Conclusions. The dramaturgy of the Easter canon is based on the harmonization of theological accents with the means of poetic expression and musical instruments, in particular, intonation, metro-rhythmic, leitmotifs and the like. In this way, the integrity of all 9 canon songs is achieved throughout the cyclical form. The general construction of the Easter canon is inspired by the laws of rhetorical art, as well as by the defining principles of Christian hymnographers whose work was based on a combination of Old Testament and New Testament images. Thus, the musical and poetic logic of the unfolding of the general dramaturgy of the canon genre reveals an alignment of the aesthetic component with the dominant accents of the theological idea of the Easter holiday.

The aim of the research is to determine the peculiarities and essence of conflict in dramaturgy, to analyze from the theoretical point definitions action-opposition is and what place it occupies in cinema and literature. In addition, to find out for what reasons an external conflict arises and how it differs from the internal one. The research methodology is based on a systematic approach, which consists of a study of conflict in cinema. For this purpose, empirical and theoretical research methods were used. Scientific novelty. For the first time, the dramatic conflict in modern cinematography was studied and analyzed using practical and theoretical methods of research, as well as different levels of conflict in cinematography and artworks, and their peculiarities were defined. Conclusions. The characteristics and significance of the battle in dramaturgy are analyzed, what is the action and counteraction in cinematography and literature are determined. Using empirical and theoretical research methods, it was found out how a dramatic conflict in artistic works is created and the classification of conflict in society is considered in detail.