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The article discusses the history of theatre and performance practices, with a particular focus on German theatre and criticism. Topics covered include the performance's relationship to its documentation, the representation of performance art, and the role of marketing or funding procedures in the aesthetic core and the shape of the final products of performance art.

Despite their singularities and divergences, the major dramatic theories of the twentieth century keep the classical tripartition of genres untouched. Our recent research on rhapsodic criticism has evidenced the increasingly appropriation by playwrights of elements traditionally reserved for a fourth genre, as important as epic, lyric and dramatic genres, but left aside by critical reflection because of its traditional association with "non-artistic" practices: the essayistic genre. A new theory of genres that incorporates this fourth genre into the classical triad may not only illuminate some of the main features of modern and contemporary drama, but it also allows a more accurate understanding of some of the fundamental works of Western drama. [ABSTRACT FROM AUTHOR]

In this paper, the comedy Los intereses creados by Jacinto Benavente will be analyzed from two points of view: inversions and investments. On one hand, I will analyze the substitution or the inversion of dramatic and thematic concepts; and on the other, I will focus on the financial investments. The theoretical approaches to irony by Plato, Booth and Peter Roster will be used to analyze substitutions and investments. The complementary parts—substitutions, investments, irony and the characters—place this play in the rich tradition of the comedy and, even more specifically, in the context of commedia dell'arte. [ABSTRACT FROM AUTHOR]

Simone Weil's dramatic criticism and dramatic writing offer a way of reconceptualising what it means to engage critically under fascist censorship. This essay explores her closet drama Venise sauvée as an example of her embrace of writing political resistance in a time when classical theatre criticism was absent and artistic resistance had been made futile. Simone Weil called for an awakening in the audience to acknowledge their responsibility of how they let theatre shape their way of thinking about war. I demonstrate that Weilian theatre theory does not only consider the stage an object to be analysed, but also the very subject through whose lenses one can undertake a critical reshaping of ways to interpret the world. In this dramatic view on WW2 Weil exhibits the artistic voices of resistance in occupied France as caught in its own echo chambers and thus no longer perceptible in society. The essay reads her unfinished historical tragedy Venise sauvée and its central motif of the silenced voice of resistance as implicit warning to the contemporary théâtre resistant to become the agent of its own irrelevance. I propose that beyond this warning there lies a theory of deconstructing propaganda theatre by unleashing the creative power of theatre's failure, namely via a distortion of the socially synchronized inner and outer stage of the audience. [ABSTRACT FROM AUTHOR]

The status of theatrical criticism is an ambiguous one, due to the existence of different points of view. Yet, the most performing arts researchers agree that it (theatrical criticism) can be an important axiological tool. Some consider theatre criticism as a field in the creation of literature that reflects the current activity of a theatrical institution. There are common points with theatrology, characterized by a larger operation in approaching theatrical events. Theatrical criticism is a ferment which is an absolute must for the artistic life, and in this position, it becomes an important coordination entity of the theatrical policy for one society or another. The criticism of dramatic literature and theatre are two distinct types of analysis and evaluation, although they are mutually conditioned and intertwined. Theatrical criticism does not mean a mimetic speech, in the care of which is a regular or simple account or a description of the aesthetic object (scenic show). The most appropriate formulation of a critical act concerns interpretation and creation, since the theatrical work (scenic fiction) is a synthesis of diverse languages: speech, mimicry, gesture, decoration, costume, lights, music). We deal with an extraordinary semantic richness, a fact that requires from the critic a good taste, general culture, theatrical culture, analytical and synthetic spirit, honesty, writer or writing availability. [ABSTRACT FROM AUTHOR]

The paper examines Alex Asigbo's Once upon a School as a drama of social criticism through an interpretive analysis of embedded metaphors as forms of behaviour intrigues, twists and turns that characterize humans in quest to achieving their aspirations. The play evaluates behavioural tendencies as products of social construction of reality, which revolve around influences of nature and nurture, locale specific social realities and contexts. To discuss the behaviour of the characters in the play, the paper adopts content analysis approach regarding specific aspects of the play such as characters' choice of language, particularly humour, the characters' projected ideological inclinations, the existing didactic values, and the socio-cultural variables that propel the social construction of certain realities. Furthermore, the paper adopts Abraham Maslow's view on the humanistic perspective as the theoretical paradigm applicable to the analysis of the play's characters' conducts in specific circumstances. Lastly, the paper asserts that human behaviours are manifestations of locale specific social construction of realities and the propelling forces of an individual's nature and nurture. [ABSTRACT FROM AUTHOR]

This paper aims at analysing the way in which the structure and stylistics of theatre review influenced the evolution of critical thinking during the short thaw that took place in all Socialist countries after Nikita Khrushchev's February 1956 speech in which the Soviet leader exposed the crimes of Stalin's rule. We therefore analysed the reviews and essays of some of the most dynamic and most professional young critics who published in the Teatrul Journal: I. D. Sîrbu, Şt. Aug. Doinaş, Ecaterina Oproiu and Florian Potra. Symptomatically, all the four critics subsequently moved away from this profession, for dramatic reasons related to the political circumstances, and during the following decade, they became famous writers of poetry, literary criticism, dramaturgy or film criticism. [ABSTRACT FROM AUTHOR]

The concept of business ethics has continued to remain a major item on the agenda of corporate America for the last twenty years. Regrettably, this longevity of interest has not been matched by equal attention to the pedagogical methods and techniques used to address these issues. The current mode of teaching business ethics generally involves reliance on "war stories," case studies, and seminars. Today's dynamic environment creates pressures for higher levels of ethical behavior by business. Many ethical challenges faced by contemporary managers are not easily resolved by existing guidelines, and require managers to expand their scope of analysis in attempting to arrive at satisfactory resolutions. Literature can be an especially alternative source of insights, as authors are able to highlight behaviors that may not be available from traditional sources. Historically, the use of literature in examining business ethics has been focused primarily on novels such as The jungle, Babbit, and The Great Gatsby. Plays are more useful than novels in attempting to inculcate moral and ethical values since they more sharply address the interactions of characters, and the reader becomes more involved in their situations. The plays selected for analysis, Henrik Ibsen's An Enemy of the People, Arthur Miller's Death of a Salesman, and David Mamet's Glengarry Glen Ross, have intense plots and characters and allow the reader to observe a wide range motives, emotions, and traits. This untraditional approach to teaching business ethics enhances the ability to relate to the increasingly complex ethical issues facing the individual and the organization. [ABSTRACT FROM AUTHOR]

This issue of I Theatre Survey i casts a sustained gaze at Anglophone performance cultures of the nineteenth century. Inchbald's writings serve as a valuable archive of both the author's consolidating aesthetic philosophy and the tastes predominant among theatregoers and producers of the time. England's famous Kemble acting family makes a brief appearance in Lisa Freeman's essay, but one of its daughters is the primary subject of Chandra Owenby Hopkins's essay: the plantation diaries of Fanny Kemble shed light on the ways of Southern American whiteness from the perspective of a racial insider who is a national outsider. [Extracted from the article]

Through the narratives of climate crisis felt in the regional and indigenous communities inclusive of humans and more-than-humans, climate change theatre in America in the twenty-first century has represented a global narrative (Chapter 7). May here provides a critical lens for theatre studies, which she terms "ecodramaturgy", to empower one with a science to point out the otherwise overlooked or missed ecological-environmental potentials of a play. [Extracted from the article]

The article records through artist interviews what working in a warehouse in DUMBO in New York was like in the 1990s as part of establishing the context and impact of GAle GAtes et al.'s theatre of images. It reports continuous experimental theatre lineage and as an under recognized precursor of the commercial upsurge in immersive and site-based theatre in the 21st century.

How can we conceive of applying genetic criticism to a theatrical work, since drama is characterised by its inherent mutability and necessary incompletion? How can we analyse the genesis of a play which only becomes real on the evening of its performance? How can we define the genesis documents when we know they are unstable, heterogeneous and ephemeral by definition? A requisite condition: the persons involved in stage direction as well as theatrical archives should be encouraged to preserve the fragile traces of the birth of a performance (logbooks, administration notebooks, rehearsal records, sketches for the sets, and so on). This study outlines a framework wherein the complex, dynamic relationship between the construction of a text and that of its performance can be exploited. [ABSTRACT FROM AUTHOR]

This article explores the dramaturgy of electrifying Japanese contemporary theatre maker Tanino Kurō and his company's inventive architectures of rescaled private worlds. Tanino is a major figure in contemporary Japanese theatre, his work tours internationally, and he is well-discussed in Japanese theatre criticism. This essay introduces some notable dramaturgical features of Tanino's theatre for the first time in English. Further, the article theorizes that Tanino's innovative stage architectures disfigure the usual optics of the private sphere and, consequently, its preferred subjects, from the family patriarch to repression. This article offers a new way to understand the angura influence on contemporary Japanese performance cultures and the circumstances of radical theatre in a wider post-1960s neoliberal predicament. [ABSTRACT FROM AUTHOR]

In order to highlight the importance of disseminating cultural and artistic values in society, through the multitude of historical and cultural writings published in that period, the Press and Legislation Section of the ‟Dinicu Golescu" Argeș Public County Library opened, on the second floor, in the central hall, the exhibition of photographic reproductions of the Romanian Official Gazette, which could be visited in the first quarter of 2023. Documents and photographic reproductions from the anniversary volume Monitorul Oficial-100 years (1832-1932) of the Press and Legislation section were exhibited. In 1932, the 100th anniversary of the foundation of the first Romanian official newspaper was celebrated with an anniversary volume Monitorul Oficial-100 years (1832-1932), in an exceptional graphic edition. The volume shows how the State newspaper, the institution of the Official Gazette and the State Printing Presses existed and developed during those 100 years. The historical material has been gathered from the documents of the Romanian Academy, the State Archives and the General Directorate of the Official Gazette. Alongside Part I, in which legislation is published, there have been over the years, in various structures and with various contents, several parts in which various texts have been published, such as literary and theatre criticism, scientific and historical studies and dissertations, administrative and judicial announcements, government projects, debates in the Chambers. And the beginnings of the Official Gazette Publishing House are intertwined with those of the Official Gazette. Among the publications edited, it is worth mentioning the Bulletin of the State Printing Works (Art and Graphic Technique), the magazine Romanian Life, the repertory of the Romanian Pandects, the Code of Romanian Laws (C. Hamangiu). During the communist dictatorship, it was practically impossible to speak of a publishing house of the Official Gazette, the activity of the institution being concentrated only in the area of official publications. Since the 1990s, the Monitorul Oficial Publishing House has resumed publishing works promoting national culture. [ABSTRACT FROM AUTHOR]

Beginning in 1892, Feydeau established himself in France as the new master of vaudeville comedy. London theatres surrendered to his infectious laughter, producing a number of his plays between 1892 and 1897, though admittedly, carefully selected: The Sportsman, adapted from Monsieur chasse! , The Other Man from Champignol malgré lui, His Little Dodge (Le Système Ribadier), A Night Out (L’Hôtel du Libre-Échange) and A Night Session (Séance de nuit). By reviewing the manuscripts submitted to the Office of the Lord Chamberlain, our article proposes to examine the approaches that made it possible for London directors and producers to edit light comedies which, with the name Feydeau, boasted of their French origin and frivolous nature, even when this choice carried inevitable risks. How could they avoid offending a Lord Chamberlain, hostile to any signs of immorality, with these plays, which were often based on subversive and ribald comedy? In each case, the manuscripts submitted for his censorship, in the proposed texts, reveal a prior self-censorship, evident both in the choices of the plays presented, and in the contortions of the adapters and translators: transpositions of situations, cuts and line changes all aimed at smoothing over or toning down the comedic effects relating to sexuality, as well as to social divisions. Even the most faithful translations brought about a shift in the starting situation, profoundly changing Feydeau’s reflections on intimate relationships and social ties. But why edit these plays, and deliberately run into such obstacles? Perhaps the dramatic and rhythmic inventiveness of Feydeau’s plays was an irresistible attraction to both performers and the public, as the study of their reception reveals. Even when adapters were often compelled to reduce Feydeau’s text, they also easily found the means to introduce clownish acts that were likely to please British audiences.

A literary analysis of the play "The Knight of the Burning Pestle" by Francis Beaumont is presented. It focuses on the characters of the metadramatic Citizen and his wife Nell, examining the symbolism of the critical observations of each scene. The author suggests this is done to make connections between social and theatrical authority as well as the possibility of misinterpretation between produces and audiences of dramatic representation.

This article investigates the efficacy of the neo-indigenous post-linear style in creating democracy in politically committed theatre in Zimbabwe. The article interrogates democracy in performance with regards to liberated spectatorship and avoidance of indoctrination, monolithic readings and excessive reliance on what Brecht (in Babbage 2004: 34) described as 'emotional orgies', which cripple the spectators' ability to think and engage. Using Rooftop Promotions theatre company's performance Rituals, the article examines how this production harmonizes the antagonistic relationship between style and democracy in contemporary protest theatre in Zimbabwe. [ABSTRACT FROM AUTHOR]

Copyright of Basic Education College Magazine For Educational & Humanities Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers Victoriens & Edouardiens is the property of Presses Universitaires de la Mediterranee and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the interpretation of the book "Le Misanthrope," written by Molière, by philosopher Jean-Jacques Rousseau and author Jean-François Marmontel. Topics include theater criticism in the work discussed, the moral theories of laughter addressed, and the reflections of the authors on the ethics of emotions in drama. Rousseau's book "Lettre à d'Alembert" and Marmontel's book "Apologie du théâtre" are analyzed.

This article considers the ways in which Shakespeare used the theatre’s representative space to explore the possible uses and misuses of the Renaissance privy closet by royal figures inKing John, Richard IIIandHamlet. While scholars have typically figured the closet as a space for licensed misbehaviour for monarchs, Shakespeare repeatedly portrays the king retreating to his closet in moments of dramatic crisis, enacting an abnegation of his public duties. Ironically, what the behaviour of these sovereign figures demonstrates is that Hamlet, who in the closet scene brazenly accuses his mother of incest and murders the wrong man, actually has a better understanding of the royal closet’s function, because he enters the closet by invitation, limits slanderous accusations to the most private of spaces, and defends the room from interlopers. I use the closet in order to interrogate how specific spaces make new types of behaviour possible, and how occupants must negotiate the correct uses of these spaces. It is only frominsidethat the sovereign’s time in the closet space appears justified; from outside the closet, the audience will tend to perceive concealment. [ABSTRACT FROM PUBLISHER]