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American ‘Unculture’ in French Drama by Les Essif Pdf
A book about the role America plays in the French imagination, as it translates to the French stage. Informed by a rich variety of Western cultural scholarship, Essif examines two dozen post-1960 works representing some of the most innovative dramaturgy of the last half century, including works by Gatti, Obaldia, Cixous, Koltes, and Vinaver.
Author : Eric H. Kadler Publisher : Springer Science & Business Media Page : 154 pages File Size : 46,8 Mb Release : 2012-12-06 Category : Language Arts & Disciplines ISBN : 9789401033626
Literary Figures in French Drama (1784–1834) by Eric H. Kadler Pdf
The general aim of this book is to present a study of a dramatic genre which was a significant facet of French drama in the period from 1784 to 1834 and has never before been singled out or analyzed. The striking feature of the plays of this genre is that the protagonists represent French literary figures. A casual examination of a collection of late eighteenth-and early nineteenth-century plays, many of which concern literary figures, led to the initial idea for this study. Conscientious cross-checking was sub sequently done in a number of reference works and contemporary newspapers to obtain complete coverage and to draw up a list of all the plays in which French literary figures appeared as characters. From the total number of such plays, 153 have been used as the primary source of information. They were found scattered either in different collections or as separate copies in various libraries. This source has been supplemented by use of theatrical journals and almanacs giving reviews of some of the plays which were not published.
French Renaissance and Baroque Drama by Michael Meere Pdf
The fifteen articles in this volume highlight the richness, diversity, and experimental nature of French and Francophone drama before the advent of what would become known as neoclassical French theater of the seventeenth century. In essays ranging from conventional stage plays (tragedies, comedies, pastoral, and mystery plays) to court ballets, royal entrances, and meta- and para-theatrical writings of the period from 1485 to 1640, French Renaissance and Baroque Drama: Text, Performance, Theory seeks to deepen and problematize our knowledge of texts, co-texts, and performances of drama from literary-historical, artistic, political, social, and religious perspectives. Moreover, many of the articles engage with contemporary theory and other disciplines to study this drama, including but not limited to psychoanalysis, gender studies, anthropology, and performance theory. The diversity of the essays in their methodologies and objects of study, none of which is privileged over any other, bespeaks the various types of drama and the numerous ways we can study them.
Reading Drama in Eighteenth-Century France by Thomas Wynn Pdf
Thomas Wynn explores how plays were read in eighteenth-century France and, relatedly, the mode of closet drama: plays that were never performed within the playhouse. Drawing on queer theory, Wynn argues that eighteenth-century closet reading fostered disruptive pleasures that imparted another side to the period's 'théâtromanie'.
Christian Rite and Christian Drama in the Middle Ages by O. B. Hardison Jr. Pdf
Originally published in 1965. The European dramatic tradition rests on a group of religious dramas that appeared between the tenth and twelfth centuries. These dramas, of interest in themselves, are also important for the light they shed on three historical and critical problems: the relation of drama to ritual, the nature of dramatic form, and the development of representational techniques. Hardison's approach is based on the history of the Christian liturgy, on critical theories concerning the kinship of ritual and drama, and on close analysis of the chronology and content of the texts themselves. Beginning with liturgical commentaries of the ninth century, Hardison shows that writers of the period consciously interpreted the Mass and cycle of the church year in dramatic terms. By reconstructing the services themselves, he shows that they had an emphatic dramatic structure that reached its climax with the celebration of the Resurrection. Turning to the history of the Latin Resurrection play, Hardison suggests that the famous Quem quaeritis—the earliest of all medieval dramas—is best understood in relation to the baptismal rites of the Easter Vigil service. He sets forth a theory of the original form and function of the play based on the content of the earliest manuscripts as well as on vestigial ceremonial elements that survive in the later ones. Three texts from the eleventh and twelfth centuries are analyzed with emphasis on the change from ritual to representational modes. Hardison discusses why the form inherited from ritual remained unchanged, while the technique became increasingly representational. In studying the earliest vernacular dramas, Hardison examines the use of nonritual materials as sources of dramatic form, the influence of representational concepts of space and time on staging, and the development of nonceremonial techniques for composition of dialogue. The sudden appearance of these elements in vernacular drama suggests the existence of a hitherto unsuspected vernacular tradition considerably older than the earliest surviving vernacular plays.
A Narratology of Drama by Christine Schwanecke Pdf
This volume argues against Gérard Genette’s theory that there is an “insurmountable opposition” between drama and narrative and shows that the two forms of storytelling have been productively intertwined throughout literary history. Building on the idea that plays often incorporate elements from other genres, especially narrative ones, the present study theorises drama as a fundamentally narrative genre. Guided by the question of how drama tells stories, the first part of the study delineates the general characteristics of dramatic narration and zooms in on the use of narrative forms in drama. The second part proposes a history of dramatic storytelling from the Renaissance to the twenty-first century that transcends conventional genre boundaries. Close readings of exemplary British plays provide an overview of the dominant narrative modes in each period and point to their impact in the broader cultural and historical context of the plays. Finally, the volume argues that throughout history, highly narrative plays have had a performative power that reached well beyond the stage: dramatic storytelling not only reflects socio-political realities, but also largely shapes them.