Search

Since the 1990s, we have seen on the Chinese TV screen an increasing number of depictions of familial affection. This affection has been frequently positioned as either resistance to or a solution to the social issues caused by mismanagement of capital as citizens participate in economic ventures. This article explores how TV dramas promote affective labor on the narrative level and how the Chinese state tries to use TV drama as an affective product on the consumption level. The study first discusses how melodramatic narratives of the mother-in-law/daughter-in-law conflict serve as a pedagogical tool to instill familial affect among domestic audiences and popularize the concept that the family unit is responsible for absorbing the pain from economic reforms or from bad investment of capital. Then the study turns to investigate how the Chinese state attempts to cultivate a cultural market for Chinese cultural products in African countries through which to advocate cultural influence in Africa, arguably in order to achieve part of the "Chinese Dream. [ABSTRACT FROM AUTHOR]

One feature of the neo/liberal possessive self is the propertied character of certain beliefs: treated as belonging to those who hold them, recognized and supported in acting on the world, and protected. While an ownership paradigm predates anti-discrimination and human rights regimes, these regimes have consolidated and extended the propertied status of certain identity beliefs in ways that naturalize and siloize them. But if beliefs’ propertied character is politically problematic, can it be unsettled and reformed? This paper considers one possible mode for doing so, namely play. Oftentimes, play works to secure and assert the propertied attachments people have to their beliefs; but some forms of play offer other possibilities. Focusing on the state as a complex site of play relations and encounters, this article explores how state play engages identity beliefs in a contemporary legal drama of colliding beliefs between conservative Christians and liberal gay equality advocates. [ABSTRACT FROM AUTHOR]

In this paper, the author explores the importance of play at various stages of literacy development and contends that play is an essential element of learning. The author begins by defining play and literacy, using examples to theoretically explore the play and literacy interface throughout the life span. Finally, she moves into a policy discussion of play and literacy development in today's political climate, including the influence of standardized testing and the Common Core Standards. [ABSTRACT FROM PUBLISHER]

Copyright of Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The term "rhetoric" often has been maligned by those lacking familiarity with classical Greek and Latin scholarship. However, a more sustained, historically-informed examination of persuasive interchange is of fundamental importance for the study of human knowing and acting across the humanities and social sciences, as well as all other realms of community life. While acknowledging several contemporary scholars who have reengaged aspects of classical Greek and Latin rhetoric, this statement gives particular attention to the works of Kenneth Burke and the linkages of Burke's writings with Aristotle's Rhetoric, as well as American pragmatist thought and the ethnographically, conceptually-oriented sociology known as symbolic interactionism (Blumer 1969; Strauss 1993; Prus 1996; 1997; 1999; 2015; Prus and Grills 2003). Because scholarship does not exist as isolated instances of genius, even the productions of highly accomplished individuals such as Kenneth Burke are best understood within the context of a horizontal-temporal, as well as a vertical-historical intellectual community. Accordingly, Burke's contributions to the human sciences more generally and pragmatist social theory (along with its sociological extension, symbolic interaction) more specifically are best comprehended within this broader, historically-enabled scholarly context. Kenneth Burke's dramatistic pragmatism is not the only missing link between classical Greek thought and symbolic interactionism, but Burke's work on rhetoric represents a particularly important medium for extending the conceptual and analytic parameters of contemporary symbolic interaction. Indeed, Kenneth Burke's scholarship has important implications for the fuller study of community life as implied in the most fundamental and enabling terms of human knowing and acting. [ABSTRACT FROM AUTHOR]

This essay considers the midnight movie cult phenomenon The Room and its iconic in-theater audiencing ritual as an anecdotal representation of a community employing cultural performance to enter into dialogue with a text producer (here, The Room auteur Tommy Wiseau) and engage in struggle over the meaning of a contested cultural text. Through the lens of Victor Turner's model of social drama, the author considers discourses surrounding the controversial history of The Room (which represents the breach and crisis of Turner's model) and demonstrates ways in which the discourses and gestures performed by audience members during the ritual constitute redressive action and should be understood as symbolic rejection of Wiseau's public assertions of modernist authorial control. [ABSTRACT FROM AUTHOR]

The article examines the complex treatment of religious belief in Hassan Abdulrazzak's book "Love, Bombs and Apples." The book shows how Abdulrazzak employs the form of stand-up comedy to explore the diverse and ambivalent roles of the Islamic faith in relation to other concerns, such as sexuality, family, consumerism, and politics.

The article presents a literary criticism for "Gone Too Far!" by Bola Agbaje is presented. It analyses how the genre of social comedy helps to confront and playfully destabilize existing stereotypes concerning young immigrants' lives in urban estates both in the real world and in so-called ‘ghetto plays', challenging artificially constructed choices between cultural identities.

The article discusses Mike Bartlett's book "13" demonstrating how its blending of dystopian elements with the Theatre of the Absurd. It mentions that Bartlett raises questions about political power in a way that denies any clear answers, emphasizing instead the ambiguities and complexities in modern machinations of power as well as the importance of personal responsibility.

This paper examines the gender dynamics in Franz Grillparzer's drama Die Jüdin von Toledo. Comparing this drama with Grillparzer's analysis of gender in Shakespeare's Macbeth, I argue that Die Jüdin von Toledo demonstrates the author's ability to conceive of gender in a complex manner, a trait which is absent from much of his private writing. Furthermore, on the basis of the dichotomy of male action and female intent which Grillparzer sees in Macbeth, I analyse Eleonore's agency in the drama, and ask whether it is possible that Grillparzer subverts the supposed gendered dichotomy by having this female character play an active role in the murder of Rahel, her rival. [ABSTRACT FROM AUTHOR]

Copyright of German Life & Letters is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An essay is presented on the material effects of emotional feelings to drama and its performance. It mentioned the performance script that offers the starting point of the emotions of performance or the characters, the realist plays like "Three Sisters" by Anton Chekhov and "Love and Information" by Caryl Churchill reveal the importance in social interaction of emotions and the response to climate change, and the scene that implies social action for climate change needs emotional change.

An essay is presented about the colonial life depicted in the comedy "Le Tartuffe." The topics discussed include the plays written in the Old World, ways on how plays were chosen, and the reception of the people about the said plays in the said period. Moreover, it also mentions the tragicomedy "Le Sage Visionnaire."

The article offers the author's insights on the association between theater and environment in the landscape of the Cuban theater scene. Topics discussed include factors that need to consider when analyzing the relationship, like the scarce industrialization of the country, the elements that characterize a theater community, and projects that address environmental protection.

This study investigates the docudrama hypothesis—the idea that fiction based on real stories can influence audience members’ perception of political reality—in the context of current debates on partisan selective exposure and reinforcement effects. It does so by analyzing the influence of an Oscar-nominated docudrama on viewers’ attitudes and behavioral intention using propensity score matching. By means of a representative survey, we find strong evidence of partisan selective exposure and avoidance. Furthermore, among respondents with a similar likelihood of film attendance, actual attendance has a strong association with positive retrospective evaluations of the political coalition glorified in the movie, and an indirect relationship—via retrospective evaluations—with voting intentions. Discussion of the findings shed light into potential real-world political effects of partisan selective exposure using content other than news. [ABSTRACT FROM PUBLISHER]

The article discusses three central concerns- tragic drama, photography and ethics after observing the production of 'Antigone' where in the sequence of gunning down of Osama bin Laden in a trap laid by U.S. wherein Osama's body was occluded from the photography. It notes acts in tragic theater and photograph of current events raises question of recognition and self-recognition and influence of the politics is also debated.

A literary criticism of the play "The Tempest," by William Shakespeare is presented. Topics discussed include the objectives of the play, the social aspects of "The Tempest," and the writing career of Shakespeare. Also mentioned are the capabilities of Shakespeare as a writer, the importance of science and technology, and the theatrical entertainment value of the play.

In this article Andy Kempe discusses how a nationwide project has marked a significant step forward in improving access to the theatre for UK audiences who have hitherto felt largely excluded from theatre by mounting a number of ‘relaxed performances’. He makes particular reference to autistic spectrum disorders to illustrate how, in order to widen participation, theatres need to cater for a diverse range of individual needs. The article explores the challenges of catering for children and young people who may be, variously, under- or over-sensitive to sensory stimuli, in both the way performances are adapted and how the front-of-house is organized. A case study is offered of how one small regional theatre sought to address these challenges by giving a ‘relaxed performance’ of its annual pantomime. The impact of the production is considered as well as insights that have emerged from the enterprise. Andy Kempe is Professor of Drama Education and a Teaching Fellow of the University of Reading. His work with students of all ages and abilities has informed his numerous publications on a variety of issues in drama and arts education, including Drama, Disability, and Education (Routledge, 2012). [ABSTRACT FROM PUBLISHER]

In this article Sylke Rene Meyer traces the historical derivation of tragedy as a patriarchal cultural achievement. To this end, she organizes the pertinent developments, and shows how tragedy came into being with the transition from nomadic to sedentary agrarian societies, principally through the onset of livestock farming in the Mediterranean. Tragedy in this context is the reinterpretation of pre-patriarchal myth in the mindset of this new way of life, and can be seen as developing in response to the male guilt complex in early patriarchal society, serving as a non-religious exculpation instrument and collective therapy. Until today, the dramatic form consolidates power by privileging an ideology of change (that is, drama) that individualizes conflict as an opportunity for personal growth, and in so doing, distracts from the systemic conflict that can be solved only by subverting the dominant social order. Sylke Rene Meyer is Professor of Screenwriting and Dramaturgy at the International Film School in Cologne. She works as a writer and director in theatre, film, and mixed media works, some of which have received significant awards. [ABSTRACT FROM PUBLISHER]

This article explores the question of the roles that cultural proximity and diversity play in the positive acceptance of Korean popular culture products, specifically Korean TV drama, by foreign audiences. In the first part, I focus on defining what is cultural proximity and diversity, what a TV drama is, and what I mean by the term “cultural aspect”. These cultural aspects as seek-n in the chosen TV drama “Winter Sonata” are then specifically defined in the case of culturally close audience (Japanese viewers) and viewers in culturally distant regions (international audience). Regarding Japan and Korea, I focus on what makes these two countries culturally close, what is the connection between “Winter Sonata” and Japanese TV drama, in what sense is Japanese audience specific, and how was “Winter Sonata” accepted in East Asian re- gions. Next, I compare these findings with the acceptance of this drama by Western audience. Drawing on several cultural theories (e.g. Wallerstein's and Straubhaar's theory on cultural flows, Walker's ideas on cultural proximity of the individual), this research uses commentaries on on-line fans' forums as the main primary source, together with secondary literature review on this subject. [ABSTRACT FROM AUTHOR]

The article explores on the theatrical history of the non-Shakespearian Renaissance plays based on its editions and textual matters. Topics discussed include the scholarly interest of the theatrical context of Renaissance drama, the theatrical qualities of the dramatic writing and the tricky business of staging such scenes.

This article uses case stories from drama workshops conducted within primary and secondary classrooms to illustrate the ways in which post-structuralist theory can inform pedagogical design when using drama to engage in critical inquiry. It draws on research theory to illustrate the need for critique of the types of knowledge that are created in the drama and builds on the work of Deleuzian researcher Elizabeth St Pierre, relating her use of metaphor and figurations in research writing to the use of anti-naturalistic conventions in dramatic play. The article discusses the way in which some conventions invite replication of dominant storylines and subject positions while others more readily open up the play space for critical inquiry and the creation of new possibilities. It then proposes the need for new metaphors to enrich the use of drama as a method for critical inquiry. [ABSTRACT FROM AUTHOR]

Natural ferocity dominates part of human society. Based on its spontaneous-instinctive needs and desires, it triggers off individual praxes and behaviors. Ideological definitions are collectively consecrated, forming ethic and mental orders. According to this, mimesis causes knowledge and catharsis regulates conscious behavior. The social function of theatre art in the classic Hellenic era differs radically from that of modern post-dramatic poetics in the sense that, whereas ancient dramas and games educated the members ofpolis to act publicly, as citizens, post-poetics culture encourages the reasonable beings to live individually, reviving their pre-conscious ferocity. [ABSTRACT FROM AUTHOR]

Tragedy has traditionally been ranked higher than comedy, and critics often valorize the ‘tragic vision of life’. Using twenty contrasts between tragedy and comedy, I argue that there is a ‘comic vision of life’ which is superior to the tragic vision, especially in the post-heroic era in which we live. [ABSTRACT FROM PUBLISHER]

This article examines current discourses surrounding the future of education and society more generally. It focuses on Sardar's discussion of ‘post-normality’ to frame discussions around the transformations in society and speculates on how the qualities inherent in drama education and applied theatre might form responses to post-normality. The article concludes with a series of reflections about the place of drama education and applied theatre in a world dominated by complexity, chaos and confusion. [ABSTRACT FROM PUBLISHER]

In this wide-ranging interview conducted by Associate Editor Harvey Young, Thomas Bradshaw reflects on his plays, talks about the determining influence of class in contemporary society, and comments on his reputation as a provocateur. [ABSTRACT FROM PUBLISHER]

An essay is presented exploring the use of applied drama as a means of engaging conflict management through a case study of the South African University of Witwatersrand. The author asserts that applied drama can be effectively used to better educate college students in issues such as diversity and sexual harassment. Examples of this work accomplished by the Acting Against Conflict Project and the school's Transformations Office are then presented and analyzed.

The last two decades have seen an increasing interest from different quarters in exploring the territory that exists between translation and theatre. Examining discussions of the nature of drama and theatre - that see them as performative rather than representative entities (Worthen 2003; Schechner 2002) - this article argues for a rethinking of the interdisciplinary relations between translation and theatre in the context of wider debates over the value of interdisciplinarity in translation studies (Pym 1998; Chesterman 2010; Bassnett 2012). Drawing on the contributions to this special issue, the social dimension of translation and the performative nature of culture are brought to the fore as productive new ways of studying translation in the theatre as a performative and social as well as a linguistic practice. [ABSTRACT FROM AUTHOR]

Considering the deep transformations of the dramatic genre in the 20th century and the growing need and/or concern of scholars and artists of thinking the dramatic art from "new" aesthetical applications, which dialog with the longing of the subject inserted in the modern, technocratic context and of social and cultural determinants of a capitalist basis, this paper has the objective of discussing the "essential theater" idealized and put in practice by Denise Stoklos, focusing on the artist's role as a playwright and thinker of art/theater, as well as the relation that can be verified between her work and what Luiz Costa Lima (2000, p. 286, 2003, p. 179) calls mimesis of production. [ABSTRACT FROM AUTHOR]

An essay is presented which discusses the philosophical concept of postsecularism, and explores its relationship with Protestant secularism, postmodernism, and postpolitics. The influence of humanism on postsecularism is also commented on, and its historical dependence on the Counter-Reformation is examined along with its relationship with tragedy.

The article discusses the performance by the theatrical group, Optative Theatrical Laboratories (OTL), of "Sinking Neptune," a revisionist reenactment of the play "Le Théâtre de Neptune en la Nouvelle-France" by Marc Lescarbot, on November 14, 2006 in Montreal, Quebec. Topics of the article include interpretation of relations between French and the Mi'kmaq Indians in the play, performance activism, and OTL's goal of critical reflection of Lescarbot's play by viewers of "Sinking Neptune."

El artículo discurre sobre el teatro popular en Chile, con un enfoque en dos distintos periodos. El autor comenta sobre la incorporación de elementos de la vida cotidiana en el teatro chileno y describe la historia del teatro popular desde fines el siglo 19. También se consideran los aspectos recreativos y culturales del teatro.

Documentary theatre, as a theatrical genre, has not maintained a continuous presence in Irish theatre. The Darkest Corner series, produced in 2010 by the Abbey Theatre, Dublin, Ireland's National Theatre is, therefore, one of the first examples of Irish theatre using the genre to address political and social issues. Presenting three plays, Gerard Mannix Flynn's James X, Richard Johnson's The Evidence I Shall Give and Mary Raftery's No Escape, the series examines the widespread abuse of children in state institutions. Before analysing the documentary play commissioned by the Abbey, Raftery's No Escape, this article will begin with an exploration of documentary theatre in Ireland. It will then examine the material used for the play, the Ryan Report, published following the Commission to Inquire into Child Abuse, something of great political and social interest to contemporary Ireland and, finally, the play itself. [ABSTRACT FROM PUBLISHER]

The article looks at author James Baldwin's contributions to the field of performance theory. Particular focus is given to his play "Blues for Mister Charlie." According to the author, Baldwin believed that the literary form of drama created a unique space in which authors, actors, and audiences could come to terms with their common humanity, regardless of race. Details on Baldwin's personal struggle to portray a white racist murderer in "Blues for Mister Charlie" are presented. Other topics include illusion and the role of theater in Baldwin's decisions to enter and later leave the ministry.

The article critiques the play "La Victoire du Phébus François contre le Python de ce temps, tragédie, où l'on voit les desseins, pratiques, tyrannies, meurtres, larcins, mort et ignomie dudit Python," noting the themes and implications of royal violence in the play. It addresses the relationship to the rule of the French king Louis XIII, as well as discusses the play as a performance-text that reflects social and cultural situations of 17th century France.

Sociodrama is an arts-based, action-oriented tool of individual and collective social exploration and creative problem solving that allows participants to explore and find potential resolutions to issues of concern and conflict in their lives. This article describes how Early Years educators can begin to implement basic sociodrama into their existing programs in order to help children represent, explore, and reflect upon issues and problems of social importance. [ABSTRACT FROM AUTHOR]

Copyright of Cahiers de Recherche Sociologique is the property of Universite du Quebec a Montreal, Department de Sociologie and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The 'performativity' of culture is established as a concept useful both descriptively and analytically. In Britain today a significant social drama is in play - "The Great Paedophile Panic". The scenario of this drama is that the country is infested by an army of paedophiles, whose members are ready at any moment to swoop down on a child, kidnap, rape and murder it. There is no statistical basis for this widespread belief. An examination of potentially pathological elements in the culture, which might lie behind this social drama, reveals a society in which considerable confusion between adult and child identity, role and behaviour is increasingly exhibited. It is suggested that this psychosocial development contributes to increasing consumption in a 'service economy' such as that of the UK, but at the cost of significant social pathologies, including the sexualisation of children. [ABSTRACT FROM AUTHOR]

This article examines the techniques and strategies each playwright uses to pose broad questions concerning the discursive and material relationships between bodies, space, class, and global neoliberalism as they are imagined through theater. The redrawing of urban space during the presidency of Carlos Saúl Menem (1989-1999) corresponded to a redefining of the contours of the body politic in cultural production, which in theater produced a wide range of onstage bodily metamorphoses. Roberto Cossa's El Saludador (1999), and Cristina Escofet's Eternity Class (2000) are two plays that ex-emplify the ways discourses of global neoliberalism became embodied in cultural representation of the nineties in Argentina. [ABSTRACT FROM AUTHOR]