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The interface between Arts Council policy and the lived experience of amateur drama, which this dissertation examines, provides cultural historians with an access point to understand post-war Irish society. After decades of neglect, the Irish Government initiated a series of fundamental cultural responses to post-war Ireland’s socio economic crisis. These initiatives included the Report on the Arts in Ireland (1949), the passing of the first Arts Act (1951), establishing An Chomhairle Ealaíon / the Arts Council of Ireland (1952) and initiating the national An Tóstal Festival (1953). This research argues that Arts Council’s support for amateur drama and other cultural festivals was essential to the state’s response to this deteriorating economic situation. Following Raymond Williams’s approach to cultural development, this research uses the Arts Council archive to analyse the development of amateur drama festivals. In addition, physical and digital archives exploring the North Cork, Western, Clare and All-Ireland Drama Festivals tell the story of this movement. The predominant focus of recent work concerning Irish theatre history is the professional rather than the amateur experience. However, in recent years, scholars in the United Kingdom, the United States of America, and Ireland have begun to understand amateur drama as a means of exploring the process of change in society. Rather than see amateur drama as a springboard for the professional, this research shows it was where people in post-war rural Ireland experienced the creativity and storytelling of the theatre. In addition, plays performed at amateur drama festivals became opportunities to highlight issues of national importance, such as emigration, poverty, and the institutionalisation of vulnerable women and children. Finally, it concludes that with Arts Council support, amateur drama festivals became a voluntary grassroots movement influencing audience attitudes towards Irish modernisation. 2025-05-29

Ovaj diplomski rad istražuje koncept prostora, a ponajviše njegovu simboličku vrijednost u odabranom korpusu antičkih drama najpoznatijih rimskih komediografa Plauta i Terencija, kao i grčkih tragičara Eshila, Sofokla i Euripida. Prvi dio rada posvećen je općenitoj teoriji prostora i govori o značenju prostora u književnom tekstu, definiciji književne geografije, epohi prostora, fenomenu prostora i prostornosti te raščlambi simboličkih, svetih i transcendentnih prostora. U drugom dijelu rada uključene su odabrane polazne drame te su navedena određena geografska mjesta važna za daljnje simboličko shvaćanje koje slijedi. Najveći dio rada bavi se upravo simboličkom konceptualizacijom pojedinih prostora i načinom na koji su određene prostore doživljavali ondašnji čitatelji – potkrijepljeno citatima polaznih antičkih drama: Škrtac, Hvalisavi vojnik, Djevojka s otoka Androsa, Formion, Samomučitelj, Okovani Prometej, Kralj Edip, Antigona, Medeja, Elektra te Ifigenija među Taurijcima. This graduate thesis explores the concept of space, and above all, its symbolic value in a selected corpus of ancient plays by the most famous Roman comedy writers Plautus and Terence, as well as the Greek tragedians Aeschylus, Sophocles and Euripides. The first part of the work is dedicated to the general theory of space and talks about the meaning of space in a literary text, the definition of literary geography, the epoch of space, the phenomenon of space and spatiality, and the analysis of symbolic, sacred and transcendent spaces. In the second part of the work, selected initial dramas are included and certain geographical places important for the further symbolic understanding that follows are listed. The largest part of the work deals with the symbolic conceptualization of certain spaces and the way in which certain spaces were perceived by the readers of that time - supported by quotations from the initial ancient plays: The Miser, The Boastful Soldier, The Girl from the Island of Andros, Formion, The Self-Torturer, Prometheus in Chains, Oedipus the King, Antigone, Medea , Electra and Iphigenia among the Taurians.

Resumen En el contexto de la última dictadura argentina (1976-1983), el objetivo de nuestro artículo es analizar cómo el acto creador dramatúrgico varía según se impone en él la realidad del exilio o del insilio de los teatristas. A través de nuestro corpus, estudiamos a tres dramaturgas exiliadas en España (Bortnik, Gambaro y Raznovich) y las propuestas de dos artistas que permanecieron en Argentina y plasmaron el exilio en sus obras (Gris de ausencia de Cossa y Lejana tierra prometida de Halac). Esto permite, a su vez, reflexionar sobre el teatro en un sentido ontológico y corroborar la vitalidad de los contactos entre Argentina, España e Italia durante este tiempo. Abstract This works examines how the dramaturgical creative act varies according to the reality of the artist in exile, whether at home or abroad, in the context of Argentina’s last dictatorship (1976-1983). Our corpus examines three playwrights in exile at the time in Spain (Bortnik, Gambaro and Raznovich) and the works of two artists who considered the topic of exile while remaining in Argentina (Gris de ausencia by Cossa and Lejana tierra prometida by Halac). In turn, this allows us to consider an ontological perspective of theatre and uphold the vitality of contact between Argentina, Spain and Italy during this time. Resumo No contexto da última ditadura na Argentina (1976-1983), o objetivo de nosso artigo é analisar como o ato criativo dramatúrgico varia de acordo com a realidade do exílio ou insílio imposto aos dramaturgos. Por meio de nosso corpus, estudaremos três dramaturgos exilados na Espanha no momento (Bortnik, Gambaro e Raznovich) e as propostas de dois artistas que permaneceram na Argentina e refletiram sobre o exílio em suas obras (Gris de ausencia, de Cossa, e Lejana tierra prometida, de Halac). Por sua vez, isto nos permitirá refletir sobre o teatro em um sentido ontológico e corroborar a vitalidade dos contatos entre Argentina, Espanha e Itália durante esse período.

El esplendor adquirido por el teatro español durante la segunda mitad del siglo XIX está fuera de dudas. Tal fue la importancia y repercusiones de este teatro que muchos géneros fueron evolucionando y adaptándose. En este teatro cobraron especial relevancia las obras menores, cortas, de apenas un acto, que servían de enlace en las funciones entre obras mayores (dramas, comedias, zarzuelas u óperas). Obras que acabaron predominando en la mayoría de las funciones celebradas. Gracias a estas obras cortas se dieron a conocer muchos autores. En muchos casos fueron autores locales, conocidos en círculos reducidos de ciudades o provincias. En algunos casos alcanzaron un reconocimiento mayor. El rastreo documental en archivos y prensa de la época, así como la cesión de una copia impresa de la obra por familiares del autor, han permitido rescatar del olvido esta pieza que, a pesar de haber sido representada en Madrid, no figura en los catálogos existentes, como los editados por la Fundación Juan March, imprescindibles para adentrarse en la vida teatral del siglo XIX. Resaltar el valor de estas obras menores y su contribución al florecimiento y auge del teatro como foco de cultura y llamar la atención sobre autores teatrales desconocidos, ausentes de los catálogos oficiales y del reconocimiento de la crítica, centran este trabajo The splendor acquired by the Spanish theater during the second half of the 19th century is beyond doubt. Such was the importance and repercussions of this theater that many genres evolved and adapted. In this theater, the minor, short plays of just one act, which served as a link in the functions between major works (dramas, comedies, operettas or operas). Works that ended up prevailing in most of the performed functions. Thanks to these short works many authors became known. In many cases they were local authors, known in small circles of cities or provinces. In some cases they achieved greater recognition. The documentary tracking in archives and the press of the time, as well as the transfer of a printed copy of the work by relatives of the author, have made it possible to rescue from oblivion this piece that, despite having been represented in Madrid, does not appear in the catalogs existing ones, such as those published by the Juan March Foundation, essential for entering the theatrical life of the 19th century. Highlighting the value of these minor works and their contribution to the flourishing and rise of the theater as a focus of culture and drawing attention to unknown theatrical authors, absent from official catalogs and from critical recognition, focus this work.

Hong Kong, a borrowed place where her stories are always narrated by others. Theatre, a mediated platform where theatre makers look for ways to voice out their concerns and at the same time, audiences who expect to hear resonance of their lives and times. Theatre makers should never forget that the mission of live drama is to unfold realities through creative expression, images and ideas. This task is a never-ending mission for playwrights in Hong Kong. This article provides an overview of Hong Kong’s contemporary theatre life through two basic perspectives: the work of young playwrights and the impact of venue policy on the present development of local performing arts.

В статье на материале пьес, входящих в шорт-листы драматургических конкурсов, ставится проблема соединения нарративного и перформативного в современной драме. Опираясь на драматургические тексты "Ожидание голосования" Роберто Франтини, "Мёртвая собака в химчистке: сильные" Ангелики Лидделл, "Дом Ибсена" Саймона Стоуна и материал театральных постановок - спектакля-инсталляции "Мясо" Томаса Бо Нильссона, "Воспламенение глагола жить" Ваджи Муавада и других, - рассматриваются формы разрушения классической "четвертой стены". Описываются перформативные стратегии современной драматургии и постдраматического театра. Прямое обращение и провокация зрителя, эстетизация безобразного, отказ от неотъемлемого антропоцентризма, цифровые перформансы, используемые современным театром, описываются в статье в широком контексте драматургических и общелитературных процессов, происходящих на пороге пост-постмодернизма. Описываемые формы перформативного высказывания лишают зрителя привычной ему роли стороннего наблюдателя и вынуждают занимать активную этическую и эстетическую позицию., There is the problem of combining the narrative and the performative in modern drama in the article, which based on the material of the plays that included in the short-list of dramatic competitions. The author of the article considers the destructions of the classical "fourth wall" in the dramatic texts "Waiting for a Vote" by Roberto Frantini, "Dead Dog in the Dry Cleaner: Strong" by Angelica Liddell, "Ibsen's House" by Simon Stone and in the theatrical productions which includes the installation play "Meat" by Thomas Bo Nilsson, "Ignite the verb to live" by Vadji Muavad and others. The author describes the performative strategies of contemporary drama and post-dramatic theater. The direct appeal and provocation of the viewer, aestheticization of the ugliness, the rejection of inalienable anthropocentrism, digital performances used by modern theater are described in the broad context of dramatic and general literary processes taking place on the threshold of post-postmodernism. The viewer is deprived the usual role of an outside observer by the described forms of performative utterance and has to take an active ethical and aesthetic position., Уральский филологический вестник, Issue № 3, Pages 35-46

There is the problem of combining the narrative and the performative in modern drama in the article, which based on the material of the plays that included in the short-list of dramatic competitions. The author of the article considers the destructions of the classical "fourth wall" in the dramatic texts "Waiting for a Vote" by Roberto Frantini, "Dead Dog in the Dry Cleaner: Strong" by Angelica Liddell, "Ibsen's House" by Simon Stone and in the theatrical productions which includes the installation play "Meat" by Thomas Bo Nilsson, "Ignite the verb to live" by Vadji Muavad and others. The author describes the performative strategies of contemporary drama and post-dramatic theater. The direct appeal and provocation of the viewer, aestheticization of the ugliness, the rejection of inalienable anthropocentrism, digital performances used by modern theater are described in the broad context of dramatic and general literary processes taking place on the threshold of post-postmodernism. The viewer is deprived the usual role of an outside observer by the described forms of performative utterance and has to take an active ethical and aesthetic position. В статье на материале пьес, входящих в шорт-листы драматургических конкурсов, ставится проблема соединения нарративного и перформативного в современной драме. Опираясь на драматургические тексты "Ожидание голосования" Роберто Франтини, "Мёртвая собака в химчистке: сильные" Ангелики Лидделл, "Дом Ибсена" Саймона Стоуна и материал театральных постановок - спектакля-инсталляции "Мясо" Томаса Бо Нильссона, "Воспламенение глагола жить" Ваджи Муавада и других, - рассматриваются формы разрушения классической "четвертой стены". Описываются перформативные стратегии современной драматургии и постдраматического театра. Прямое обращение и провокация зрителя, эстетизация безобразного, отказ от неотъемлемого антропоцентризма, цифровые перформансы, используемые современным театром, описываются в статье в широком контексте драматургических и общелитературных процессов, происходящих на пороге пост-постмодернизма. Описываемые формы перформативного высказывания лишают зрителя привычной ему роли стороннего наблюдателя и вынуждают занимать активную этическую и эстетическую позицию.

The article studies contemporary British plays “Faust is Dead” (1997) by Mark Ravenhill and «Killology» (2017) by Gary Owen. The playwrights in their works present a young generation of computer users, involved in digital technology and virtual reality. The aim of this research is to analyze dramatic children-characters interacting with cyberspace who are the object or doer of evil. A new type of a child-hero, which is represented in the plays by Owen and Ravenhill, is now called a «digital» child. The hero of the play “Faust is Dead” is a virtual child who exists only in the network space. Subjecting himself to violence and brutality, Donny tries to confirm his reality, as the experience of pain is supposed to be the only proof of existence of this child. In the article Mark Ravenhill’s “Faust is Dead” is compared with the poem «Faust» by N. Lenau. The plays by Ravenhill and Owen were written at the interval of 20 years, and computer equipment and users changed during those years. G. Owen in the play “Killology” shows real children, who were born in the digital era. The “digital child” in the play by Owen is fully associated with the virtual world and feels comfortable in such an environment. “Digital” child is characterized by the feeling of virtual omnipotence, which often develops into cruelty and propensity to violence. However, if the hero of Ravenhill’s plays was cruel to himself in order to become real, the characters of Owen’s drama, on the contrary, are cruel to their virtual victims. Owen’s heroes do not want to go beyond the borders of virtual reality. The article considers the dynamics of contemporary British Theatre of Cruelty on the instance of children-heroes.

This paper shows that the number of roles in theatre plays has decreased over time. Playwrights seem to internalize the costs of producing plays by downsizing the number of roles. This downsizing is not a recent phenomenon: it already started a long time ago. This is not surprising, since production costs increase over time and the Baumol cost disease is obviously one of the reasons, though one cannot exclude that fashion has changed given the time elapsed between William Shakespeare and Samuel Beckett., SCOPUS: ar.j, info:eu-repo/semantics/published

The purpose of this paper is to call attention to the results of a research which analysed the presence of women in the didactic materials used in Spanish Compulsory Secondary Education. 109 text books from three different publishers were checked and the results were very disappointed: just 7,6 % of the names quoted were women (López-Navajas, 2014). In addition to this, in this paper two relevant female Mexican playwrights are used to exemplify the didactic proposals that are been developed within the framework of the project “Women in ESO” (Compulsory Secondary Education). Moreover, these proposals could become a suitable vehicle to publicise a greater number of voices and texts of Latin American origin, in general, and Mexican, in particular, among Spanish society. El presente trabajo es consecuencia de la investigación de la Universitat de València que analizó la presencia de las mujeres en los contenidos de todas las asignaturas de la ESO en tres editoriales distintas. Se revisaron 109 manuales y los resultados que se obtuvieron fueron desastrosos: solo un 7,6 % de los personajes citados eran mujeres (López-Navajas, 2014). En el presente trabajo se ejemplifica con dos relevantes dramaturgas, las propuestas didácticas que se están desarrollando en el marco del proyecto Las mujeres en la ESO. Estas podrían convertirse, además, en un vehículo adecuado para dar a conocer en las aulas un mayor número de voces femeninas. Cet article est le résultat de la recherche de l'Université de Valence qui a analysé la présence des femmes dans les contenus de toutes les matières de l'ESO, en 109 manuels qui appartiennent à trois éditeurs différents. Les résultats obtenus étaient désastreux: seulement 7,6% des personnages mentionnés étaient des femmes (López-Navajas, 2014). Dans ce travail nous avons illustré, avec deux importantes dramaturges, quelques approches didactiques sur littérature développées dans le cadre du projet Les femmes dans l'ESO. Ce proposition pourrait aussi devenir un véhicule approprié pour faire connaître des autres voix féminines dans les classes.

Phraseologisms are symbolic and figurative means of expression that people have created through language over the centuries. Therefore, fiction cannot be imagined without phraseology. Fiction bus-relies entirely on artistic expression, imagery, and narrative. Therefore, the extensive and effective use of phraseology is extremely powerful in fiction. Phraseologisms are symbolic (figurative) means of expression and imagery that people have created through language over the centuries. That is why language and fiction cannot be imagined without phraseology.

espanolEn este trabajo se analiza, desde una lectura multiple (textual, linguistica, social), el teatro de la poeta madrilena Ana Merino (Madrid, 1971) como una propuesta dramaturgica para el siglo XXI. En una etapa de crisis del teatro actual, el analisis de sus piezas teatrales recogido en este estudio muestra su obra como una aportacion novedosa en el contexto del teatro femenino espanol actual. EnglishThis article discusses from a multiple reading (textual, linguistic, social) the theatre of the Spanish poet Ana Merino (Madrid, 1971) as a new dramaturgy proposal for 21st century. In context of crisis in the current theatre, the analysis of her theatre’s plays collected in this article shows her theatre as a singular contribution in context of the current Spanish female theatre.

The central purpose of this thesis is to explore the interconnections between historical, political, economic, and cultural context of a society and the creation of socio-cultural meaning through a specific theatrical style and genre. Known as In-Yer-Face (IYF) this genre of theatre became highly controversial and could be said to represent the zeitgeist of the 1990s in Britain, mainly through its reflection of post-Thatcherite concerns and anxieties relating to the increasingly precarious conditions of everyday life which dominated the British society at the time, particularly in the context of Britain’s youth. With regards to those anxieties, this study explores IYF theatre in light of Frank Furedi’s (1997, 2006) theories on culture of fear and Ulrich Beck (1992, 2001) and Anthony Giddens’ (1991, 1997) theories of individualization, risk society and late modern uncertainties. The thesis aims to align the forgoing sociological theories with the blatantly provocative, relentless, confrontational and aggressively shocking content of IYF theatre, the work of a group of young British playwrights that included Sarah Kane, Mark Ravenhill, and Anthony Neilson. In examining the texts of selected plays by these and other IYF playwrights, the thesis endeavours to understand how socio-economic circumstances can culminate in immense cultural shifts which in turn can alter the cultural products and artistic perspectives of a nation, in this case Britain during the early 1990s. To this end, the thesis is divided into two interconnected sections, the first of which begins by situating IYF in the broader tradition of avant-garde British theatre. This is followed by establishing the theoretical framework upon which I ground my own interpretation of IYF theatre as well as a brief examination of the socio-historical context of Britain in the 1990s. This first section is concluded by the study of IYF in alignment with other forms of cultural product, suggesting that the political and economic philosophy of IYF takes stylistic and methodological nourishment from punk music and fashion of the 1970s. In doing so, IYF theatre is considered in a broader cultural trajectory of oppositional and polemical cultural practices. In this respect the similar historical, cultural and socio-economic state of affairs that resulted in the emergence of Punk and IYF is explored and analysed. In the second part of the thesis, three selected IYF play scripts are textually analysed to demonstrate how the exemplary artefacts of young playwrights of the 1990s are thematically representative of the socio-economic malaise dominating the society of the time. The overarching themes explored in these plays include, but are not limited to, the culture of escapism and therapy culture as a response to risk society and social insecurity, representation of the culture of fear within working class society and among working class subcultures such as skinheads, and dissociation of familial bonds and intimate relationships as a result of domination of post-modern interpretations of social and familial values. The thesis is drawn to a close by looking at the legacy of IYF in the context of contemporary British theatre, particularly investigating the state of today’s theatre in representing contemporary uncertainties, social insecurities and economic and political fears on stage.

This paper will focus on the translators as their situation has proved to be more and more difficult in France. With examples, we want to consider how one’s position has evolved in the publishing world from the 16th century to the present. Looking at the 16th century, we can observe a real fever for translations of ancient texts. In the Netherlands, Italy and France, printers were translators and signed their translations with their proper name. Playwrights did the same with Latin and Greek works. For example, we know Oedipo tyranno by Giustiniani who translated Sophocles. The name of the Greek or Latin writer was eclipsed by the translator’s name such as Plantin and the Biblia Polyglotta, or Belleforest with his translation of The War of the Jews written by Flavius Josephus. The translation of the title gave the work a new specificity and was considered as the genuine work of the translator even though the name of the original author was still given. During the 16th century in France, Literary Property Laws were called “Privilège” and were attached to the author of the printed text. Later on, this law changed. We know that playwrights used translations and never mentioned the authors as they had actually never done before. Indeed, this particular type of literature often evaded the law. The publishers became more and more important and could thus decide what would be announced on the book’s cover. The author is to be mentioned for legal reasons, but translators are rarely mentioned. Today, you have to search for their name inside the book despite the fact that as our world is becoming more and more global we need them more and more. To some extent, on stage, some directors plunder translations done by specialists and attribute them to themselves. Two avenues of enquiry should help us understand the French translator’s paradox, which consist in the fact that the translator’s status evolves from a finder and producer to an intellectual whose name is today nearly ignored – despite his/her legal status.

Submitted by Alison Souza (alisonsouza@ufgd.edu.br) on 2020-04-27T12:46:18Z No. of bitstreams: 1 UFSC - BrazPintoJunior.pdf: 3077285 bytes, checksum: 056ab8a2b5a69f5ab36e3715d2c106dc (MD5) Made available in DSpace on 2020-04-27T12:46:18Z (GMT). No. of bitstreams: 1 UFSC - BrazPintoJunior.pdf: 3077285 bytes, checksum: 056ab8a2b5a69f5ab36e3715d2c106dc (MD5) Previous issue date: 2016-05-04 Suzan-Lori Parks é uma das dramaturgas norte-americanas mais reconhecidas da atual geração. Nesse trabalho, além de analisarmos a trajetória da autora e sua poética e traçarmos relações entre seus textos, buscamos refletir sobre o fenômeno da tradução como uma forma de arte e o tradutor literário como uma espécie de artista. Com base na teoria de autores como Antoine Berman (2013) – ―tradução e a letra‖ e Pavis (2008), ―o tradutor como dramaturgo‖, apresentamos uma análise de nossa própria tradução da peça Topdog/Underdog – a obra de maior repercussão de Parks, com a qual a autora recebeu o Prêmio Pulitzer na categoria Drama em 2002. Propomos ainda o diálogo com outras traduções da peça, suas encenações e elementos paratextuais ou intertextuais como cartazes, capas de publicações, jogos de azar ou artefatos culturais tanto da cultura-fonte quanto da cultura-alvo que serviram de mediadores para nosso processo de tradução. Suzan-Lori Parks is one of the U.S. most recognized playwrights of the current generation. In this work, we analyze the trajectory of the author and her poetic, trace relationships between their texts and reflect on the phenomenon of translation as a form of art and on literary translator as a kind of artist. Based on the theory of authors like Antoine Berman (2013) - "translation and the letter" e Pavis (2008), "the translator as playwright" this work also presents an analysis of our own translation of Parks‘s play Topdog / Underdog - the author‘s work of greater impact, with which she won the 2002 Pulitzer Prize in Drama. We also propose dialogue with other translations of the play, its performances and paratextual or intertextual elements such as posters, covers of publications, gambling or cultural artifacts from both source culture and target culture that serve as mediators for our translation process.

During the attempts for theatrical renewal in the twenties, several playwrights worked also as actors. The Baroja’s acted in the company ‘El Mirlo Blanco’; D. Pío participation was enthusiastic although brief, while his brother Ricardo was better recognized for his work as stage designer. Rivas Cherif participated in numerous performances and his coherence with the new theatre model that he defended was unanimously praised. Eusebio de Gorbea was considered the best actor among the playwrights, although his more appreciated characteristics like tone, gesture and roughness approached him to naturalism. The interpretative work of these authors as components of a group, whose nucleus remained amongst successive renovation attempts, is also recognized by its discipline, renounce to individual success and subordination to scenic treatment.En los ensayos de renovación teatral de los años veinte, varios dramaturgos intervinieron como actores. Los hermanos Baroja actuaron en la compañía ‘El Mirlo Blanco’: la participación de D. Pío fue entusiasta pero breve; de su hermano Ricardo se recuerda con mayor interés su labor de escenógrafo. Las numerosas actuaciones de Rivas Cherif fueron unánimemente valoradas por su coherencia con los presupuestos del nuevo teatro que tanto defendió. Eusebio de Gorbea fue el dramaturgo más reconocido en su labor de actor, si bien sus rasgos más destacados, tono, ademán, rudeza le sitúan cercano al naturalismo. La labor interpretativa de estos autores como componentes de un grupo, cuyo núcleo se mantiene en los sucesivos intentos renovadores, es también alabada por su disciplina, renuncia al lucimiento y supeditación al tratamiento escénico.

The explosion of new theatre writing in Britain during and since the 'nineties contrasted with a dearth of original plays on continental Europe, east and west. Sanja Nikcevic attributes this in part to the dominance over the previous decades of the role of leading directors, who increasingly sought out raw materials to shape productions conforming to their own or their company's ideas. She traces the attempts in a number of countries to correct the imbalance by encouraging new writing through workshops and festivals—yet also how the explosion and importation of the British ‘in-yer-face’ style then affected the kind of new writing that was considered innovative and acceptable at such events. She argues against the claims made for the political significance of plays such as Sarah Kane's Blasted, suggesting rather that the acceptance of the normality of violence without reference to its social context negates the possibility of remedial action. A former Fulbright Scholar, Sanja Nikcevic is Head of the Department of English Literature at the University of Osijek, Croatia. Her full-length publications include The Subversive American Drama: Sympathy for Losers (1994), Affirmative American Drama: Long Live the Puritans (2003), and New European Drama: the Great Deception (2005). She was the founder and for eight years the president of the Croatian Centre of the International Theatre Institute.

A principios de 1960 se cuestionó el valor estético del arte dramático en el país, un sin número de artistas profesionales de diferentes campos discernió acerca de la verdad que ejerció el teatro, en torno a la verosimilitud de su pedagogía y su método experimental. Hoy, aunque este tipo de teatro de vanguardia constituye tan solo una parte de la historia y el desarrollo del teatro en el país, a mediados del siglo XIX, en la era republicana, el teatro dramático y los autores de aquel género emergieron escénicamente gracias a la llegada al país de compañías españolas de teatro, de las cuales muchas presentaron sus repertorios melodramáticos en casi todo el territorio nacional. Al igual que en el siglo XX algunos educadores del arte se afanaron por investigar y crear métodos e incursionar en nuevas pedagogías de enseñanza en el teatro, cabe preguntarse si durante el siglo XIX en Colombia existió educación artística teatral, su pedagogía y los métodos aplicados por el actor del arte de la declamación, a sabiendas de que en Madrid (España) se fundó en 1831 la primera escuela declamatoria (hoy Escuela Superior de Artes de Madrid), cuyo programa académico buscó desarrollar aquel proceso cognitivo en el actor. A principios de 1960 se cuestionó el valor estético del arte dramático en el país, un sin número de artistas profesionales de diferentes campos discernió acerca de la verdad que ejerció el teatro, en torno a la verosimilitud de su pedagogía y su método experimental. Hoy, aunque este tipo de teatro de vanguardia constituye tan solo una parte de la historia y el desarrollo del teatro en el país, a mediados del siglo XIX, en la era republicana, el teatro dramático y los autores de aquel género emergieron escénicamente gracias a la llegada al país de compañías españolas de teatro, de las cuales muchas presentaron sus repertorios melodramáticos en casi todo el territorio nacional. Al igual que en el siglo XX algunos educadores del arte se afanaron por investigar y crear métodos e incursionar en nuevas pedagogías de enseñanza en el teatro, cabe preguntarse si durante el siglo XIX en Colombia existió educación artística teatral, su pedagogía y los métodos aplicados por el actor del arte de la declamación, a sabiendas de que en Madrid (España) se fundó en 1831 la primera escuela declamatoria (hoy Escuela Superior de Artes de Madrid), cuyo programa académico buscó desarrollar aquel proceso cognitivo en el actor.

[spa] Con esta investigación hemos querido dar un reconocimiento a la autoría femenina en el teatro catalán mediante los personajes femeninos creados por trece autoras dentro del periodo de 1975 a 2011, y que tuvo como principal objetivo confirmar la existencia de un Personaje Femenino Redondo, es decir, un personaje excepcional que no es solo reflejo del mundo que se ha representado, sino que más bien, una creación que se aleja del colectivo de una época siendo un personaje más humano, permitiendo así la ausencia de conatos. El grupo seleccionado correspondió a las autoras más significativas en Cataluña —dentro del periodo— que con sus aportes a la escritura teatral han logrado el reconocimiento tanto del público como de la crítica especializada; tomando como base, a las dramaturgas catalanas con una producción importante, cuyas obras han sido premiadas, publicadas y/o estrenadas en cualquier circuito teatral catalán. Los textos seleccionados tuvieron la particularidad de ser obras en las cuales aparecen personajes femeninos tanto protagonistas como secundarios. Aquellas que presentaron personajes masculinos como protagonistas no fueron incluidas. Las autoras seleccionadas fueron agrupadas en tres periodos: 1) autoras anteriores a la democracia (Maria Aurèlia Capmany, Mercè Rodoreda y Rosa Victoria Gras); 2) autoras de finales del siglo XX (Lluïsa Cunillé, Àngels Aymar, Beth Escudé y Mercè Sarrias); 3) autoras del siglo XXI (Eva Hibernia, Carol López, Gemma Rodríguez, Victoria Szpunberg, Marta Buchaca y Cristina Clemente). De cada una de ellas, investigamos y analizamos el personaje femenino desde el punto de vista del texto dramático (género literario) y la autoría femenina (gender). Nos interesó el personaje femenino como signo semiótico, por eso analizamos las relaciones entre los personajes y los diferentes elementos que conforman la obra ya que la incursión de la mujer en la dramaturgia significó una nueva forma de entender el fenómeno teatral. Desde este nuevo punto de vista la creación dramática otorga nuevos parámetros que configuran el personaje femenino produciendo un quiebre en los modelos establecidos donde la mujer siempre ha sido un objeto y no un sujeto. En nuestra investigación el personaje femenino adquirió diferentes características que finalmente se unieron en un objetivo común: retratar a la mujer en la sociedad catalana tal como la perciben las mujeres, provocando un punto de inflexión en la representación de la realidad que ha sido construida por una visión masculina., [eng] The research presents the results of an analysis of eighty-one plays written by thirteen catalan authors between 1975-2011 period in which we confirmed the existence of a “fully defined and complete female character”, namely, an exceptional character which is not only a reflection of the world that is represented, but rather a creation that moves away from the collective of an age, being a human character allowing the absence of attempts. Selected authors were grouped into three periods: 1) authors previous to the establishment of democracy, 2) authors of the late twentieth century, and 3) authors of the century twenty-one. From each one of them we investigate and analyze the female character from the point of view of dramatic text (literary genre) and the female authorship (gender). We were interested in the female character as a semiotic sign, therefore we analyze the relationships between the characters and the different elements of the play since the incursion of women in the playwriting meant a new way of understand the theatrical phenomenon. From this new point of view the dramatic creation gives new parameters that configure the female character producing a break in the established models where women always it has been an object and not a subject. In our research the female character acquired different characteristics that finally joined in a common objective: to portray women in the catalan society such as the women perceive it, causing an inflection point in the representation of reality that has been constructed by a male view.

El presente trabajo es consecuencia de la investigación de la Universitat de València que analizó la presencia de las mujeres en los contenidos de todas las asignaturas de la ESO en tres editoriales distintas. Se revisaron 109 manuales y los resultados que se obtuvieron fueron desastrosos: solo un 7,6 % de los personajes citados eran mujeres (López-Navajas, 2014). En el presente trabajo se ejemplifica con dos relevantes dramaturgas, las propuestas didácticas que se están desarrollando en el marco del proyecto Las mujeres en la ESO. Estas podrían convertirse, además, en un vehículo adecuado para dar a conocer en las aulas un mayor número de voces femeninas. The purpose of this paper is to call attention to the results of a research which analysed the presence of women in the didactic materials used in Spanish Compulsory Secondary Education. 109 text books from three different publishers were checked and the results were very disappointed: just 7,6 % of the names quoted were women (López-Navajas, 2014). In addition to this, in this paper two relevant female Mexican playwrights are used to exemplify the didactic proposals that are been developed within the framework of the project “Women in ESO” (Compulsory Secondary Education). Moreover, these proposals could become a suitable vehicle to publicise a greater number of voices and texts of Latin American origin, in general, and Mexican, in particular, among Spanish society. Cet article est le résultat de la recherche de l'Université de Valence qui a analysé la présence des femmes dans les contenus de toutes les matières de l'ESO, en 109 manuels qui appartiennent à trois éditeurs différents. Les résultats obtenus étaient désastreux: seulement 7,6% des personnages mentionnés étaient des femmes (López-Navajas, 2014). Dans ce travail nous avons illustré, avec deux importantes dramaturges, quelques approches didactiques sur littérature développées dans le cadre du projet Les femmes dans l'ESO. Ce proposition pourrait aussi devenir un véhicule approprié pour faire connaître des autres voix féminines dans les classes.

En este artículo se realiza un recorrido por el panorama teatral madrileño femenino. Se habla de autoras de teatro en español de actualidad, sus modos de creación, los temas y géneros trabajados y sus inquietudes. Se exponen también las diferentes compañías de teatro en las que todas o prácticamente todas las integrantes son mujeres, su funcionamiento, estilo de trabajo y medios, así como los espacios, las salas alternativas más importantes de Madrid. Se dedica un espacio a la danza y a los eventos dedicados a esta, como el Festival Internacional de Danza Miradas del Cuerpo, y también a los espacios de formación teatral no formales, cursos, seminarios y escuelas. La autora también analiza el teatro infantil o familiar, la presencia de mujeres en este y sus objetivos principales. This article takes a tour of the Madrid female theater scene. It talks about current Spanish theater authors, their modes of creation, the themes and genres worked on, and their concerns. The different theater companies in which all or practically all the members are women are also exposed, as well as their operation, work style and media, as well as the spaces, the most important alternative rooms in Madrid. A space is dedicated to dance and to the events dedicated to it, such as the International Dance Festival Miradas del cuerpo, and also to non-formal theatrical training spaces, courses, seminars and schools. The author also analyzes children's or family theater, the presence of women in it and its main objectives.

En este artículo se realiza un recorrido por el panorama teatral madrileño femenino. Se habla de autoras de teatro en español de actualidad, sus modos de creación, los temas y géneros trabajados y sus inquietudes. Se exponen también las diferentes compañías de teatro en las que todas o prácticamente todas las integrantes son mujeres, su funcionamiento, estilo de trabajo y medios, así como los espacios, las salas alternativas más importantes de Madrid. Se dedica un espacio a la danza y a los eventos dedicados a esta, como el Festival Internacional de Danza Miradas del Cuerpo, y también a los espacios de formación teatral no formales, cursos, seminarios y escuelas. La autora también analiza el teatro infantil o familiar, la presencia de mujeres en este y sus objetivos principales. This article takes a tour of the Madrid female theater scene. It talks about current Spanish theater authors, their modes of creation, the themes and genres worked on, and their concerns. The different theater companies in which all or practically all the members are women are also exposed, as well as their operation, work style and media, as well as the spaces, the most important alternative rooms in Madrid. A space is dedicated to dance and to the events dedicated to it, such as the International Dance Festival Miradas del cuerpo, and also to non-formal theatrical training spaces, courses, seminars and schools. The author also analyzes children's or family theater, the presence of women in it and its main objectives.

During the attempts for theatrical renewal in the twenties, several playwrights worked also as actors. The Baroja’s acted in the company ‘El Mirlo Blanco’; D. Pío participation was enthusiastic although brief, while his brother Ricardo was better recognized for his work as stage designer. Rivas Cherif participated in numerous performances and his coherence with the new theatre model that he defended was unanimously praised. Eusebio de Gorbea was considered the best actor among the playwrights, although his more appreciated characteristics like tone, gesture and roughness approached him to naturalism. The interpretative work of these authors as components of a group, whose nucleus remained amongst successive renovation attempts, is also recognized by its discipline, renounce to individual success and subordination to scenic treatment. En los ensayos de renovación teatral de los años veinte, varios dramaturgos intervinieron como actores. Los hermanos Baroja actuaron en la compañía ‘El Mirlo Blanco’: la participación de D. Pío fue entusiasta pero breve; de su hermano Ricardo se recuerda con mayor interés su labor de escenógrafo. Las numerosas actuaciones de Rivas Cherif fueron unánimemente valoradas por su coherencia con los presupuestos del nuevo teatro que tanto defendió. Eusebio de Gorbea fue el dramaturgo más reconocido en su labor de actor, si bien sus rasgos más destacados, tono, ademán, rudeza le sitúan cercano al naturalismo. La labor interpretativa de estos autores como componentes de un grupo, cuyo núcleo se mantiene en los sucesivos intentos renovadores, es también alabada por su disciplina, renuncia al lucimiento y supeditación al tratamiento escénico.

One of the oldest recurring western mythical traditions finds its roots in the Ancient Near East. At the core of this abiding tale is a high-ranking woman, often married, who attempts to seduce a young man, who spurns her. The affronted woman then accuses the youth of assault and either he or both meet a violent end. Often at the heart of each tale lies something monstrous about the potential union of the two individuals. In the Greek and Roman tradition, one example of this "spurned-woman" motif manifests itself in the Phaedra-Hippolytus myth. No fewer than three ancient playwrights-Sophocles, Euripides, and Seneca--produced no fewer than four variations on this myth, altering characters' behavior, adding or removing the participation of the gods, and generally playing with combinations. There have been modem spins-offs, too, including Jean Racine's Phèdre and Eugene O'Neill's Desire Under the Elms. However, another modern resonance of the Phaedra-Hippolytus myth, more subtle and creative, and yet undeniably drawn on similar themes and characters lurks in the western canon: Shakespeare's A Midsummer Night's Dream (MND). Although Phaedra and Hippolytus themselves are physically absent from MND, the themes of their myth are so intimately interwoven in MND that close examination reveals their ghosts, silent and invisible, walking among MND's fairy folk. Because MND explores the Phaedra-Hippolytus themes in great depth, it both echoes and portends the destruction of Theseus' family, and therefore the Phaedra-Hippolytus myth.

L-awtur jitkellem dwar il-palk Malti barra minn xtutna fejn il-Maltin emigranti jistgħu jinġabru f’teatru wieħed biex jaraw xi reċta bil-Malti. L-awtur ried juri li l-Maltin ta’ barra li żammew l-arti teatrali fosthom, jistħoqqilhom ġieħ kbir., N/A