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Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts into their commonplace books, verse miscellanies, diaries, and songbooks. This is the first book to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays.
"Dramatic Difference offers an important contribution to the study of early modern women writers, and at the same time invites scholars and critics of the theater to reassess the place of closet drama - and the presence of women dramatists - in the early modern dramatic tradition."--BOOK JACKET.
This comprehensive, authoritative account of tragedy is the culmination of Hans-Thies Lehmann’s groundbreaking contributions to theatre and performance scholarship. It is a major milestone in our understanding of this core foundation of the dramatic arts. From the philosophical roots and theories of tragedy, through its inextricable relationship with drama, to its impact upon post-dramatic forms, this is the definitive work in its field. Lehmann plots a course through the history of dramatic thought, taking in Aristotle, Plato, Seneca, Nietzsche, Heidegger, Lacan, Shakespeare, Schiller, Holderlin, Wagner, Maeterlinck, Yeats, Brecht, Kantor, Heiner Müller and Sarah Kane.
Aesthetic disgust is a key component of most classic works of drama because it has much more potential than to simply shock the audience. This first extensive study on dramatic disgust places this sensation among pity and fear as one of the core emotions that can achieve katharsis in drama. The book sets out in antiquity and traces the history of dramatic disgust through Kant, Freud, and Kristeva to Sarah Kane's in-yer-face theatre. It establishes a framework to analyze forms and functions of disgust in drama by investigating its different cognates (miasma, abjection, etc.). Providing a concise argument against critics who have discredited aesthetic disgust as juvenile attention-grabbing, Sarah J. Ablett explains how this repulsive emotion allows theatre to dig deeper into what it means to be human.
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.
In Dramatic Dialogue, Atlas and Aron develop the metaphors of drama and theatre to introduce a new way of thinking about therapeutic action and therapeutic traction. This model invites the patient’s many self-states and the numerous versions of the therapist’s self onto the analytic stage to dream a mutual dream and live together the past and the future, as they appear in the present moment. The book brings together the relational emphasis on multiple self-states and enactment with the Bionian conceptions of reverie and dreaming-up the patient. The term Dramatic Dialogue originated in Ferenczi’s clinical innovations and refers to the patient and therapist dramatizing and dreaming-up the full range of their multiple selves. Along with Atlas and Aron, readers will become immersed in a Dramatic Dialogue, which the authors elaborate and enact, using the contemporary language of multiple self-states, waking dreaming, dissociation, generative enactment, and the prospective function. The book provides a rich description of contemporary clinical practice, illustrated with numerous clinical tales and detailed examination of clinical moments. Inspired by Bion’s concept of "becoming-at-one" and "at-one-ment," the authors call for a return of the soul or spirit to psychoanalysis and the generative use of the analyst’s subjectivity, including a passionate use of mind, body and soul in the pursuit of psychoanalytic truth. Dramatic Dialogue will be of great interest to all psychoanalysts and psychotherapists.
Widely considered one of the great dramatic creations of the modem stage, Mother Courage and Her Children is Bertolt Brecht s most passionate and profound statement against war. Set in the seventeenth century, the play follows Anna Fierling ( Mother Courage ), an itinerant trader, as she pulls her wagon of wares and her children through the blood and carnage of Europe s religious wars. Battered by hardships, brutality, and the degradation and death of her children, she ultimately finds herself alone with the one thing in which she truly believes her ramshackle wagon with its tattered flag and freight of boots and brandy. Fitting herself in its harness, the old woman manages, with the last of her strength, to drag it onward to the next battle. In the enduring figure of Mother Courage, Bertolt Brecht has created one of the most extraordinary characters in literature."
Applying systems theory to the comedies of Chekhov, Balzac, Kleist, Moliere, and Shakespeare, A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film approaches dramatic genre from the point of view of the degree of richness and strength of a character’s potential. Its main focus is to establish a methodology for analyzing the potential from multidimensional perspectives, using systems thinking. The whole concept is an alternative to the Aristotelian plot-based approach and is applied to an analysis of western and eastern European authors as well as contemporary American film. This innovative study consists of three parts: The first part is mostly theoretical, proposing a new definition of the dramatic as a category linked to general systems phenomena and offering a new classification of dramatic genre. In the second part, Ulea offers a textual analysis of some works based on this new classification. She analyzes comedies, tragedies, and dramas on the same or similar topics in order to reveal what makes them belong to opposite types of dramatic genre. Additionally, she considers the question of fate and chance, with regard to tragedy and comedy, from the point of view of the predispositioning theory. In the third part, Ulea explores an analysis of the comedy of a new type—CNT. Her emphasis is on the integration of the part and the whole in approaching the protagonist’s potential. She introduces the term quasi-strong potential in order to reveal the illusory strength of protagonists of the CNT and to show the technique of CNT’s analysis and synthesis. Ulea’s research begins with the notion of the comic, traditionally considered synonymous with the laughable, and attempts to approach it as independent from the laughable and laughter. The necessity to do so is dictated by the desire to penetrate the enigmatic nature of Chekhov’s comedy. The result is A Concept of Dramatic Genre and the Comedy of a New Type: Chess, Literature, and Film, a completely new approach to potential and systems thinking—which has never been a focus of dramatic theory before. Such potential is the touchstone of the comic and comedy, their permanent basic characteristic, the heart and axis around which the comedic world spins.
Engaging groups in drama is a highly effective way to break down barriers and build resilient teams. This concise book of drama-based exercises will be an invaluable tool for practitioners looking to facilitate conflict transformation and is applicable to a wide range of contexts and client groups. The dramatic problem solving approach is a sequential process, from welcoming exercises and forming agreements, to analysing the root problems and building on trust, culminating in the creation of a piece of drama. Each stage is accompanied by activities and illustrated with examples from the author's extensive experience. This book will be an innovative resource for any professionals involved in groupwork including youthworkers, teachers, social workers, arts and family therapists, group psychotherapists, psychologists, school counsellors and community leaders.