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Dramaturgy is a sociological perspective that analyzes micro-sociological accounts of everyday social interactions through the analogy of performativity and theatrical dramaturgy, dividing such interactions between "actors", "audience" members, and various "front" and "back" stages. The term was first adapted into sociology from the theatre by ...
No Drama prize was given, however, so that one was inaugurated in 1918, in a sense.) [2] It recognizes a theatrical work staged in the U.S. during the preceding calendar year. Until 2007, eligibility for the Drama Prize ran from March 1 to March 2 to reflect the Broadway "season" rather than the calendar year that governed most other Pulitzer ...
The APGRD's focus is the study of performances of ancient drama and epic worldwide, ranging from the original performances in antiquity to the present day. [1] It also runs a number of programmes promoting new writing and performance, including the 2005–2011 Onassis Programme, which commissioned, developed and produced professional work from artists from around the world, including Seamus ...
The Thirty-Six Dramatic Situations. The Thirty-Six Dramatic Situations is a descriptive list which was first proposed by Georges Polti in 1895 to categorize every dramatic situation that might occur in a story or performance. [1] Polti analyzed classical Greek texts, plus classical and contemporaneous French works.
Stanislavski's system is a systematic approach to training actors that the Russian theatre practitioner Konstantin Stanislavski developed in the first half of the twentieth century. His system cultivates what he calls the "art of experiencing" (with which he contrasts the "art of representation"). [2]
Applied Drama. Applied drama (also known as applied theatre or applied performance) is an umbrella term for the use of theatrical practices and creativity that takes participants and audience members further than mainstream theatre. It is often in response to conventional people with real life stories. [1]
The notion of postdramatic theatre was established by German theatre researcher Hans-Thies Lehmann in his book Postdramatic Theatre, [1] summarising a number of tendencies and stylistic traits occurring in avant-garde theatre since the end of the 1960s. The theatre which Lehmann calls postdramatic is not primarily focused on the drama in itself ...
These conventions occur in the text, (set, costume, sound, and lighting) design, performance style, and narrative structure. They include recreating on stage a facsimile of real life except missing a fourth wall (on proscenium arch stages).