Search results for "DRAM"
showing 10 items of 390 documents
Die Verwandlung der senecanischen Tragödie in Marc-Antoine Murets “Julius Caesar” und Jacques Grévins “César”
1994
In 1547 Marc-Antoine Muret wroteJulius Caesar, the first tragedy by a French author with an exclusively historical plot. While imitating the dramatic structure of Seneca's tragedies, he fundamentally changed the nature of the tragic conflict, transferring it from the character of the tragic hero to the clash of two basically positive principles, monarchy and Republican liberty. Muret's Caesar does not plan a revengeful crime as the Senecan heroes did; he is rather the successful statesman, ready to die after having won the victory over the entire world, and his apotheosis is soon fulfilled by the gods. On the other side are the Republican heroes Brutus and Cassius who succeed in killing the…
Decolonizing Othello in search of black feminist North American identities: Djanet Sears' Harlem duet and Toni Morrison's Desdemona
2017
<p>The plays <em>Harlem duet </em>(1997) by African Canadian playwright Djanet Sears and <em>Desdemona </em>(2012) by Toni Morrison signify upon European texts aiming to carve out a new definition of what it means to be black in North America. Therefore both texts make for interesting reading in the study of (black) identity construction within US and Canadian contexts for, by revising Shakespeare’s <em>Othello</em>, they rethink and rewrite a social and racial reality unrelentingly disrupted by difference and hybridity. Sears’ play establishes a specific reading of Canadianness in dialogue with African America to erect a possibility of healing and …
ReviewingMildred Pierce(Todd Haynes, HBO, 2011) in the Age of Postfeminism
2019
Adapted from Todd Haynes's perspective, James M. Cain's ironical take on a woman's desire for power in Mildred Pierce turns into a self-reflexive drama about the politics of postfeminism. This arti...
Face-work in teacher-in-role: Acting at the interface between artistry and pedagogy
2016
The teacher-in-role (TIR) strategy is used in process drama to strengthen the dramatic experience and promote learning among the participants. In this study, one TIR construct is examined through the lens of Erving Goffman’s concept of facework in order to deepen the understanding of the subtle and vulnerable processes of interaction in process drama. TIR is considered to be an interactive construct in which both artistry and pedagogy are embodied. Face-work is applied in the fictive context of process drama to uncover the interactional potential for learning and creating drama. In addition, the teacher’s reflections on his or her actions as they relate to face-work in process drama are exp…
Shared experiencing, shared understandings: Intersubjectivity as a key phenomenon in drama education
2018
This article is a philosophical reflection on intersubjectivity in the context of drama education; it draws on the concept’s most recent neuroscientific basis as well as the perspectives of Merleau-Ponty, Buber and Husserl. Its purpose is to deepen our understanding of the mechanisms of interaction in learning processes in drama education. In the stream of interaction in drama, the central conditions are shared experiencing and shared understandings. Intersubjectivity encompasses both of these. This study views intersubjectivity as an innate capacity and a real phenomenon – one that is a key phenomenon in the interactions of drama education. peerReviewed
Entre la realidad y la ficción, la razón y la locura: el drama coral como terapia individual y social
2017
Desde la función política de la tragedia griega, las diferentes formas dramáticas occidentales han asumido de manera más o menos explícita unas funciones del espectáculo dramático que integran bajo distintas acepciones la pretendida kátharsis aristotélica, en ocasiones para rechazarla y evitarla, que incluso van más allá del prodesse et delectare horaciano, tendiendo hacia una función terapéutica individual y social en unas formas dramáticas de elevado trasfondo coral en las que los límites entre realidad y ficción, entre cordura y locura se difuminan hasta llegar a confundirse, en las que la llamada “cuarta pared” deja de existir. El objeto de este trabajo es realizar un breve recorrido po…
"Jedem Volke (seine) Neigungen und Gemütsarten": nationale Stereotype in deutschen Dramen des 18. Jahrhunderts
2014
Es un hecho conocido que las imágenes y los estereotipos nacionales no proceden de experiencias y contactos reales de unos pueblos con otros, sino que son producto de un largo proceso de construcción de prejuicios que culminó en el siglo XVIII con las llamadas «tablas etnográficas”. En la literatura ficcional,el drama y sobre todo la comedia se prestaban especialmente al uso de estereotipos para la caracterización de los dramatis personae. Del análisis de una selección representativa de figuras de extranjeros (franceses, ingleses, españoles e italianos) en obras teatrales de Lessing, Schiller, Lenz y G. L. Hagemeister se desprende un manejo de los estereotipos nacionales condicionado por lo…