An account of language and drama between 1945 and 2005, synthesizing linguistic and dramatic knowledge in order to illuminate the ways in which anxieties and attitudes toward language manifest themselves in discourses on and around English ...
Author: K. Dorney
Category: Literary Criticism
An account of language and drama between 1945 and 2005, synthesizing linguistic and dramatic knowledge in order to illuminate the ways in which anxieties and attitudes toward language manifest themselves in discourses on and around English theatre of the time, and how these anxieties and attitudes reflect back through the theatre of this period.
I could not omit the term cupand - saucer drama , for example , theatrical cul - de - sac though that might be , because it rattled around so with kitchen ...
Author: Martin Harrison
Publisher: Psychology Press
Category: Performing Arts
Theatre has provided many words and meanings which we use - ignorant of their origins - in everyday writing and speech. This is the first book to explore 2,000 theatre terms in depth, in some cases tracing their history over two and a half millenia, in others exploring expressions less than a decade old. Terms are defined, shown in use and cross-referenced in ways which will fascinate theatre-goers, help theatre students and encourage those engaged in the theatre to examine the familiar from new angles.
See Badal Sircar, The Changing Language of Theatre: Maulana Abul Kalam Azad Lecture 1982 (Calcutta: Bit Blits, n.d.), pp. 12–13. 49. Sircar, The Changing ...
Author: Manujendra Kundu
Publisher: Oxford University Press
Category: Performing Arts
This is the first-ever, full-length study of Badal Sircar's Third Theatre. Sircar was a very prominent playwright of modern Bengali Theatre. It challenges some of the well-established notions of the Third Theatre. It brings to the fore the lost voices of some members of the Third Theatre. It has some rare photographs of Shatabdi, Sircar's Theatre group.
"This book contains an account of language and drama between 1945 and 2005, synthesizing linguistic and dramatic knowledge in order to illuminate the ways in which anxieties and attitudes toward language manifest themselves in discourses on ...
Author: Kate Dorney
Category: English drama
"This book contains an account of language and drama between 1945 and 2005, synthesizing linguistic and dramatic knowledge in order to illuminate the ways in which anxieties and attitudes toward language manifest themselves in discourses on and around English theatre of the period, and how these anxieties and attitudes reflect back through the theatre of this period"--Provided by publisher.
Author: Aparna Bhargava DharwadkerPublish On: 2009-11-01
Drama, Theory, and Urban Performance in India Since 1947 Aparna Bhargava Dharwadker ... The Changing Language of Theatre. New Delhi: Indian Council for ...
Author: Aparna Bhargava Dharwadker
Publisher: University of Iowa Press
Theatres of Independence is the first comprehensive study of drama, theatre, and urban performance in post-independence India. Combining theatre history with theoretical analysis and literary interpretation, Aparna Dharwadker examines the unprecedented conditions for writing and performance that the experience of new nationhood created in a dozen major Indian languages and offers detailed discussions of the major plays, playwrights, directors, dramatic genres, and theories of drama that have made the contemporary Indian stage a vital part of postcolonial and world theatre.The first part of Dharwadker's study deals with the new dramatic canon that emerged after 1950 and the variety of ways in which plays are written, produced, translated, circulated, and received in a multi-lingual national culture. The second part traces the formation of significant postcolonial dramatic genres from their origins in myth, history, folk narrative, sociopolitical experience, and the intertextual connections between Indian, European, British, and American drama. The book's ten appendixes collect extensive documentation of the work of leading playwrights and directors, as well as a record of the contemporary multilingual performance histories of major Indian, Western, and non-Western plays from all periods and genres. Treating drama and theatre as strategically interrelated activities, the study makes post-independence Indian theatre visible as a multifaceted critical subject to scholars of modern drama, comparative theatre, theatre history, and the new national and postcolonial literatures.
But even when the connection between language and other theatrical codes is
less evident , or only virtual , specifically dramatic rhetoric always appears as
situated except in a certain type of poetic theatre - c.f. romantic theatre - where ...
Ed. Theatres in Colonial India. New Delhi: Oxford UP, 2009. Print. Sircar, Badal. The Changing Language of Theatre. New Delhi: Indian Council for Cultural ...
Author: Richard Schechner
Publisher: Aesthetics Media Services
In this edition of Rupkatha we have the privilege of incorporating an introductory essay by Richard Schechner, in which he once again valorizes the anthropological foundations of performance studies and goes on to refer towards the infallible necessity of observing behaviour as a kind of transbiological agency and of tracing its effects in theatre and other kinds of representations. Schechner belongs to a tradition of performance scholars who believed in a kind of large, scientific ontology for the arts, a tendency which is evident when he quotes a New York University scholar. Perhaps the objective vision of a performance continuum is instructive for the future, as it creates an immediate stance, of both engaging as well as transcending the flow of experience in our lives which are organized and controlled by means of mimetically emerging actions. The performer acquires, in Schechner’s scheme, as a liminal activist, so wonderfully described by anthropologist Victor Turner, and analysed in the scientism of Geertz’ observations of culture as an influential medium in which the arts and performances get endowed with signification. It may be however also worthwhile to consider the very specific nature of the origins of performances and the need to abandon rather than yield to more global discourses of theatre: indeed the Western academics of performance studies may lead to universality and conformity of perspective in the face of actual cultural and discursive practices. This aspect of de-institutional learning of genres has been taken up in a couple of essays in this edition thus making the debate on performance studies in academic institutions more challenging and interesting to say the least. In this context it should be fitting to assume once again, that theatrical imitation, and the representations of other audio-visual or digital media shall survive and find their fulfilment only when there is organic cultural breeding –and that the assumptions of contemporary ethnography could lend no support in our true appreciation of the spirit of cultural beliefs and the arts in particular. Perhaps there is a need of re-structuring the academic components of cultural studies, one which might gain more energy and impetus of expression from inclusion of people who have no prior training in academic discourse but whose creative life stand out as exemplary precepts for communal harmony. In no case could it be truer than in that of performance arts, including the songs, dances, theatres, and poetry of the common non-writing people.
Honolulu : Hawaii UP , '90 , 387–462 ( survey of theatrical conditions ) 203.
Shankaran , Jnani . “ The protest theatre in Tamil : then and now . ' LCrit 18 iv '83
31-40 204. Sircar , Badal . The changing language of theatre . New Delhi : Indian
Author: Charles A. Carpenter
Publisher: University of Toronto Press
The successor to modern drama scholarship and criticism 1966-1980, the present volume is a classified, selective list of publications for the period 1981-1990, with many additions and corrections to the previous volume. It refines and supplements the series of annual bibliographies that Charles Carpenter compiled for the journal Modern Drama from 1982 to 1993. The work is designed both as a convenient checklist of significant scholarship on all aspects of world drama since Ibsen and as a bibliographical prTcis of the discipline as it has evolved since 1980. The great majority of its 25,200 entries concern literary currents in drama since the last third of the nineteenth century and the associated playwrights, although theatre history is also well represented. Because of the heightened interest in semiotic, anthropological, feminist, and other theoretical approaches to drama during the decade of the 1980s, the 'Contemporary Theory' section has been greatly expanded. The primary organization is geographic/linguistic; the main divisions are World Drama, then American, British and Irish, Canadian, Hispanic, French, Italian, Germanic, Scandinavian, Eastern European, African and West Indian, Australasian, and Asian drama. A name index is included. Although the bibliography is limited to material in Roman-alphabet languages, its scope, orientation, and format are designed to make the project internationally useful and intelligible.
It seems that in the theatre the ability of the language to activate the spectators' own experience in enhanced by scenic tautology, as described in the ...
Author: Jerzy Limon
Category: Performing Arts
This innovative, theoretical work focuses on temporal issues in theatre and the 'chemistry' of theatre - the ways in which a variety of factors in performance combine to make up what we call 'theatre'. Discussing a range of canonical plays, from Shakespeare to Beckett, the book makes a unique contribution to theatre and performance studies.
The changing languages of Europe. Oxford: Oxford University Press. Hopper, Paul J. 1991. On some principles of grammaticalization.
Author: Thomas Crombez
Publisher: Leuven University Press
Category: Performing Arts
Ideological heterogeneity in mass plays in Flanders and the Netherlands In many European countries mass theatre was a widespread expression of ‘community art’ which became increasingly popular shortly before the First World War. From Max Reinhardt’s lavish open-air spectacles to socialist workers’ Laienspiel (lay theatre), theatre visionaries focused on ever larger groups for entertainment as well as political agitation. Despite wide research on the Soviet and German cases, examples from the Low Countries have hardly been examined. However, mass plays in Flanders and the Netherlands had a distinctive character, displaying an ideological heterogeneity not seen elsewhere. Mass Theatre in Interwar Europe studies this peculiar phenomenon of the Low Countries in its European context and sheds light on the broader framework of mass movements in the interwar period.
Her first play Another Language was presented in 1932 , and treated intolerance in a very close - knit family . A woman married into the family asks for ...
Author: Yvonne Shafer
Publisher: Universitat de València
Category: Literary Criticism
Este libro de ensayos presenta una panorámica del desarrollo del teatro norteamericano desde principios del siglo XIX hasta la actualidad. Muestra los cambios que el teatro reflejó a medida que crecía el país y se modificaba la sociedad. Con cada década, una expresión más completa de la cultura norteamericana, con su gran variedad, aparecía en obras de teatro, musicales y revistas. Los ensayos analizan los esfuerzos de figuras marginales –sobre todo dramaturgos y productores no comerciales, afro-americanos y mujeres– para llevar a cabo una ampliación del espectro del teatro norteamericano en cuanto a la dramaturgia, diseño, representación y construcción dramática.
Soyinka ' s language is more vivid , colourful and rich . ... Both the plays make
similar , new departures in theatre and both of them aim ... Badal Sircar , The Changing Language of Theatre at the Present Time ( New Delhi : ICCR , 1982 )
particularly through the life and work of Marcel Proust [seen by Stewart as] the 'Golden Age' of French society, thirty years of innovation, dramatic change ...
Author: Ian Brown
Challenging the dominant view of a broken and discontinuous dramatic culture in Scotland, this book outlines the variety and richness of the nation ́s performance traditions and multilingual theatre history. Brown illuminates enduring strands of hybridity and diversity which use theatre and theatricality as a means of challenging establishment views, and of exploring social, political, and religious change. He describes the ways in which politically and religiously divisive moments in Scottish history, such as the Reformation and political Union, fostered alternative dramatic modes and means of expression. This major revisionist history also analyses the changing relationships between drama, culture, and political change in Scotland in the 20th and 21st centuries, drawing on the work of an extensive range of modern and contemporary Scottish playwrights and drama practitioners. Ian Brown is a playwright, poet and Professor of Drama at Kingston University, London. Until recently Chair of the Scottish Society of Playwrights, he was General Editor of the Edinburgh History of Scottish Theatre (EUP, 2007) and editor of From Tartan to Tartanry: Scottish Culture, History and Myth (EUP, 2010) and The Edinburgh Companion to Scottish Drama (EUP, 2011). He has published widely on theatre, cultural policy and literature and language.
Although expressive narratives of this sort are common in Russian language theatre histories and biographies , the technique is strangely out of place in a
study designed for British and American academic audiences . Catherine Schuler
The Changing Language of Theatre. New Delhi, Indian Council for Cultural
Relations, 1982. Thiyetarer bhāsā. Kolkātā, Paribeşak Nab Grantha Kutir, 1983.
Critical Studies: in Rehearsals of Revolution: The Political Theater of Bengal,
Publisher: Saint James Press
Category: Literary Criticism
Contains biographical and bibliographical "information on some 340 living writers from over 60 countries whose work has, at least in part, been translated into English."--Preface, p. vii.
... theatre,* in multilingual regions such as Catalonia and Luxembourg which count on the bi- or multi-lingualism of the audience to change language ...
Author: Patrice Pavis
Category: Performing Arts
The Routledge Dictionary of Contemporary Theatre and Performance provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years. Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic. What we think of as 'performance' and 'drama' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis's Dictionary provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without.
senelick, L. 2000 The Changing Room. Sex, drag and theatre, London and New York. shaver, r.m. 1966 Kabuki Costume, rutland and tokyo. sider, ...
Author: Douglas Cairns
Publisher: ISD LLC
A distinguished cast of scholars discusses models of gesture and non-verbal communication as they apply to Greek and Roman culture, literature and art. Topics include dress and costume in the Homeric poems; the importance of looking, eye-contact, and face-to-face orientation in Greek society; the construction of facial expression in Greek and Roman epic; the significance of gesture and body language in the visual meaning of ancient sculpture; the evidence for gesture and performance style in the texts of ancient drama; the erotic significance of feet and footprints; and the role of gesture in Roman law. The volume seeks to apply a sense of history as well as of theory in interpreting non-verbal communication. It looks both at the cross-cultural and at the culturally specific in its treatment of this important but long-neglected aspect of Classical Studies.
20 For a useful discussion concerning the changing character of German language theatre in Czechoslovakia after 1918 (from the official stage of those in ...
Author: Anselm Heinrich
The Second World War went beyond previous military conflicts. It was not only about specific geographical gains or economic goals, but also about the brutal and lasting reshaping of Europe as a whole. Theatre in Europe Under German Occupation explores the part that theatre played in the Nazi war effort. Using a case-study approach, it illustrates the crucial and heavily subsidised role of theatre as a cultural extension of the military machine, key to Nazi Germany’s total war doctrine. Covering theatres in Oslo, Riga, Lille, Lodz, Krakau, Warsaw, Prague, The Hague and Kiev, Anselm Heinrich looks at the history and context of their operation; the wider political, cultural and propagandistic implications in view of their function in wartime; and their legacies. Theatre in Europe Under German Occupation focuses for the first time on Nazi Germany’s attempts to control and shape the cultural sector in occupied territories, shedding new light on the importance of theatre for the regime’s military and political goals.