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10.45pm BBC2 Striking political drama (aka The Senator) that revisits the 1969 scandal involving White House hopeful Edward Kennedy. See page [...]

Byline: Sarthak Raizada The political drama that erupted in Madhya Pradesh was finally put to rest last week after Chief Minister Kamal Nath submitted his resignation. In the run-up to [...]

Fame Is the Spur ... 12 noon-2.15pm Talking Pictures TV y DRAMA Labour's first prime minister, Ramsay MacDonald, was supposedly the inspiration for this political drama from director Roy Boulting. [...]

Byline: BENJI WILSON hen Julian Fellowes Wbegan writing a novel about high society in 19th-century London, he had an inkling that it might end up on television. It was 2015 [...]

Through the years, the mayor and the governor have famously feuded over whether the state or the city should be responsible for the local transit system, who should oversee public [...]

This article comments on various theatrical productions. The play "Viet Rock," written and directed by Megan Terry, goes by the name of "total theatre," an item in "the theatre of cruelty." It aspires to be free and gay, raucous, graphic, topical, improvisational, saltatory, shocking and politically explosive. There is little to indicate that this farrago is propelled by the force of genuine social indignation or understanding. There is hardly any true spontaneity: only untempered ambition and unripe mind. Such exhibits are swipes of avant-gardism.

The article discusses The Wrecking Ball 19: #ELXN42, a cabaret-style political plays initiated by director Ross Manson and playwright Jason Sherman which was shown in different cities in Canada before the 2015 federal election. Topics covered include the different depiction or portrayal of Prime Minister Stephen Harper and the importance of the Canadian theater's engagement with the political culture.

Several photographs from the archive of VideoCabaret, a Canadian political theater company, showing the highlights of several political plays are presented.

The article reports that Britain has long thought of itself as being part of the same economic club as America, France or Germany. Topics include considered it is a mark of the glum mood in the country that commentators are now drawing comparisons to Italy instead-a place that, aside from Ia dolce vita, is known for interminable political drama, economic stagnation and nervous bond markets.

The article analyzes the television program "Party Tricks." Particular focus is given to the political drama and comedy. The stars of the show include Asher Keddie and Rodger Corser. Topics discussed include kind of leadership conflicts in Australian politics, Australian politics and leadership and observational humour.

The article examines how Yoweri Museveni, President of Uganda has managed to remain in power for longer period of time. It reports that the opposition Member of Parliament (MP) were so enraged and attempted to block it from being tabled, by heckling and causing mayhem in the House. Also mentions that they ignored Speaker Rebecca Kadaga's order suspending them from the House for disturbing seating and for misbehaving.

This article discusses the theatrical productions in Spain during the period 1990-2012. The author comments on the emphasis of many of these works on history, collective memory, and the Francoist period (the Spanish government under the dictatorship of Francisco Franco). She also examines the depiction of political topics and events in these productions.

Mark Lutwak seems to be preoccupied with hunger. It's the first community showing of Honolulu Theatre for Youth's world-premiere play Nothing Is the Same, about the effect on Hawaiian children [...]

We'll take steady leadership free of petty politics anywhere and anytime we can find it, especially in a time of crisis. Unfortunately, during the coronavirus pandemic, we haven't found it [...]

Seven years of civil war have reduced Syria to an antechamber of hell. At least half a million are thought to have been killed, and 10 million, about half the [...]

Every Sunday, Stephen, Ailbhe and Patrick digest the week's culture and music, and preview the political drama ahead. Subscribe to receive it [...]

Every Sunday, Stephen, Ailbhe and Patrick digest the week's culture and music, and preview the political drama ahead. Subscribe to receive it [...]

Every Sunday, Stephen, Ailbhe and Patrick digest the week's culture and music, and preview the political drama ahead. Subscribe to receive it [...]

Every Sunday, Stephen, Ailbhe and Patrick digest the week's culture and music, and preview the political drama ahead. Subscribe to receive it [...]

Sitting down to write this between Christmas and New Year's, three thoughts came to mind. First, 2019 flew by and while there was (and is) plenty of political drama, the [...]

The article discusses what is at stake when schools skim science. The struggle of the U.S. to educate its citizen about science and to make that education relevant and present in their daily lives is highlighted. The emergence of the science classroom as a stage for political drama is noted. The availability of public schools that demonstrate quality science learning is mentioned.

The article looks at the life and works of new generation Chilean director and playwright Guillermo Calderón who rose to prominence following his first play "Neva" in 2006. Born to a middle-class family in Santiago in 1971 and grew up during the dictatorship of Pinochet, it is noted that his political plays bear the traumatic effect of his experiences during the harsh military regime. Highlighted is Calderón's theater piece "Villa+Discurso" which has been performed around the world.

An interview with playwright Amy Herzog is presented. Topics of discussion include her experiences attending Yale University, the autobiographical nature of many of her plays including "The Wendy Play" and "Love Song for Two Voices," and her relationship with her mother and grandmother. The importance of politics in Herzog's work is also analyzed.

The author talks about Chicago, Illinois' Victory Gardens Theater as a place artists feel safe, want to work in and come home to. He says for the last 18 years his theatrical home has been the Theater, an American center for new plays with fourteen playwrights forming an ensemble. He relates his history with the Theater dating back to the Midwest premiere of his poetic thriller, "Earth and Sky." He feels fortunate that he has written political dramas, rock operas, mysteries and thrillers and seen them produced under the Theater he calls his home.

An interview with American playwright Donald Margulies is presented. When asked if "Time Stands Still" is a departure from her previous work, he rejects the idea and does not consider the play as political. Margulies shares that skepticism surrounds his work and notes his leeriness on political theatre. He believes that the viewpoint of the character James in "Time Stands Still" has more extreme viewpoint than his.

This article discusses the threats of President Robert Mugabe and supporters to performances of political satire in Zimbabwe. It notes that at the age of eighty four, Mugabe resists to step down from his post. It points out that lively protests through theatrical production focusing on the old despot are held in the country including "The Crocodile of Zambezi," by Raisedon Baya, Chris Mlalazi and Leonard Nkusi. It commends the courage of playwrights despite the threats and dangers they faced.

The article presents the lecture by author, Harold Pinter, delivered for the Nobel Literature Prize of 2005 in which he discusses the exploration of truth in art, applying the concept to political theatre, and how he included truth in his plays such as "The Homecoming."

The article discusses the political views and writings of American Revolutionary Mercy Otis Warren. Details are included about the political plays and other political works written by Warren, including "History of the Rise, Progress, and Termination of the American Revolution," "The Adulateur," and "The Sack of Rome." Warren's anti-Federalist political views, her role in the American Revolution, and her life history are also described. INSETS: Warren chides Federalists;Adams goes apoplectic.

The article presents the script of an American play related to the second U.S. President John Adams adapted by Kathy Wilmore. INSET: WHO'S NEXT?.

The article considers the political theater in Australia. The political theater is a mirror image of the country's society. Australian theater is dominated by the Left. It is possible that Stephen Sewell is the most important of the political playwrights in the country, and his works suggest the he has assimilated the formula writing rules of agitprop theater.

The article informs about political thriller in theaters "QAnon" in people's parents' basements, and the screens are attached to the Internet. Topics include global cabal of cannibal pedophiles with Jeffrey Epstein's mysterious suicide convinced will be Bill Gates's bodysnatching coronavirus vaccine; and Tenet, a complicated science-fiction thriller filled with political intrigue, into newly de-virused and disinfected cineplexes as American moviegoing public places that parochial Hollywood.

Presents the play "Freedom of Speech," by Jeffrey Hatcher.

Focuses on the continued emergence of Canadian political play. Significance of 'Fennario, His Life on Stage'; Trend in political theater established by Headline Theatre of Vancouver, British Columbia and the Theatre Parminou of Victoriaville, Quebec; Different approaches in political plays.

Presents the transcript of a panel discussion on the relationship between politics and plays, as part of the Celebrating Canadian Plays and Playwrights Conference held in Stratford Festival, Ontario on October 19, 2002. Goal of a playwright in making change and changing people; Consideration of political plays as didactic; Flaws in cultural appropriation.

Examines why there is a need for an alternative political children's theater. Walter Benjamin's essays on children's literature and culture; State of children's culture in the U.S. and how it is organized for them; Different kinds of unspectacular children's theater that thrive in the nooks and crannies of public realms.

Focuses on the political activism of artists in the United States who would like to prevent the reelection of President George W. Bush in 2004. Reference to the exhibition "Political Persuasions: Left, Right and Center," at the Silvermine Galleries in New Canaan, Connecticut, featuring artists such as Adam Niklewicz, Shiela Hale, and Gerald Saladyga; Lack of art submitted to the gallery from the political right; Discussion of the political movement to defeat Bush undertaken by rock musicians, such as Bruce Springsteen, regional theaters, museums and other institutions; Revival of "Major Barbara," a theatrical production by George Bernard Shaw, at the San Jose Repertory Theater; Reference to an exhibition entitled "Memorials of War," at the Whitney Museum; Success of the documentary film "Fahrenheit 9/11," directed by Michael Moore.

Focuses on the creative protest activity in New York City which is being planned for the Republican National Convention. Protest theater featuring political plays; Threat of a strike by police and fire fighters; Bells for peace; Street theater; Others.

This article provides information on the Solvognen, a sound-and-light theater group established in Denmark in 1969. The Solvognen produced psychedelic light-shows for rock concerts, but also a great deal with dramatic forms of expression. The Solvognen participated as a real theater group in the first attempts to coordinate the activities of the action theater groups in The Theatre Front 1972-73. With several other groups, the Solvognen participated in a street theater play Faellesskabet when demonstration meetings against Denmark entering the European Economic Community were held in Copenhagen's town hall square in 1972. The Solvognen's development from an experimental sound-and-light group into a political theater group was, by and large, a parallel to the growing political awareness in the Youth Rebellion. It was, however, through their action performances that the Solvognen attracted attention, created public debate, and roused a political storm. The first action play by the Solvognen was the NATO Army. Criticism of American imperialism had previously unfolded, however, in some street theater performances, especially Nixon i byen and Wounded Knee.

This article focuses on the contributions of playwright Joan Holden to the San Francisco Mime Troupe in California. Holden first became involved with the group through its presentation of an adaptation of the play L'amante militare by Carlo Goldoni. The adaptation, The Independent Female, led to her concentration on political formula comedy. Holden replaced many elements in the original play, and linked feminist revolt to class revolt. The Dragon Lady's Revenge presented in 1971 used the comic strip formula. The troupe presented a science fiction detective story entitled The Great Air Robbery in 1974. By 1976, the troupe has forged a wholly coherent style grounded in the scripts of Holden. The playwright believes that the year marked a decisive change in her dramaturgy.

This article discusses political theatre. Is all theatre political? Some people claim that it is. To some extent, this view is based upon a misunderstanding of the word "political." Webster defines "political" as: 1) Of or concerned with government, the state or politics; 2) Having a definite governmental organization; 3) Engaged in or taking sides in politics; as political parties; 4) Of or characteristics of political parties or politicians: as political pressure. These definitions may help us to understand the nature of political theatre, but they do not apply to all theatrical activity. Some people who claim that all theatre is political seem to confuse "political," "social," and "economic." Of course, all theatre exists in a certain socio-economic context. By definition, it involves an audience; it is not a solitary activity. But this does not mean that it necessarily is concerned with government or that it must take sides in politics. A basic functional independence of theatre and politics can be illustrated by certain indigenous performances that have remained unchanged for many years under various political parties, systems and orders.

This article deals with political theatre as popular entertainment. Political theatre has done more than adopt past entertainment forms, it has also adopted their spirit of fun. Jean-Jacques Lebel, The Happener and political activist who was making street theatre during the Paris events of May 1968, says that the Revolution should be fun, even the planning of it. It is this sense of livingness, of vitality, that must imbue all revolutionary political activity, coming as a continual demonstration of the energy of the Movement toward desired goals, in contrast with the boredom of the status quo. It is this vitality, which comes in part from taking on the Establishment, that is the most obvious characteristic of the contemporary political theatre groups.

The article presents the script of the play "Mercedes," written by Thomas Brasch and translated by Becke Buffalo which was first staged in 1983.