From Dramatic Space to Narrative Place: George Mackay Brown’s Time in a Red Coat

2019 ◽  
pp. 49-69
Author(s):  
Paul Barnaby
Keyword(s):  
Dramatic Space

scholarly journals Hearing things in music for films: music, fiction and engagement

2013 ◽  
Vol 3 (1-2) ◽  
pp. 64-77 ◽  
Author(s):  
Birger Langkjær
Keyword(s):  
Film Music ◽  
Music Analysis ◽  
Audience Engagement ◽  
Opening Scene ◽  
Musical Perception ◽  
Ecological Theories ◽  
Level Model ◽  
John Williams ◽  
Dramatic Space ◽  
Different Levels

Film music is often thought of as something that adds to the visuals. Yet, this truism somehow obscures the complexity of how film music works. First, music has no single and fixed meaning that can be added to the visuals in the first place. Second, experiencing audiovisual meaning can be accounted for on several levels. For that reason this article proposes eight different but complementary ways of listening to music along the lines of ecological theories of musical perception in which it is argued that we hear things, that is, referential matters in music. The validity of this is demonstrated through the discussion of a series of scholarly interpretations of John Williams’ music for the opening scene of Jaws (1975). Second, it is argued that music may add meaning on different levels and a three level model of film music analysis is suggested in which the music as an expressive device, the fiction world as a dramatic space and kinds of audience engagement are conceived as three separate, yet interacting, levels of the filmic experience.

Opening Spaces

2020 ◽  
Vol 39 (2) ◽  
pp. 330-367
Author(s):  
Naomi Weiss
Keyword(s):  
Physical Space ◽  
Greek Drama ◽  
Long Time ◽  
Theatrical Representation ◽  
Dramatic Space ◽  
Fictional Space

This paper explores the construction of dramatic space in the prologues of classical Greek drama. Drawing from theater scholarship on the phenomenology of space, I show how tragedians and comedians alike experimented with how to shape their audience’s understanding of a play’s setting. I focus on opening scenes in plays by Sophocles and Aristophanes where a character sees with and for the audience, and demonstrate how these moments of staged spectatorship are not necessarily straightforward or seamless; they can facilitate the viewing of dramatic space but also, by laying it bare, reveal its complications. Sometimes there are multiple representational possibilities for physical space within and around the theater; sometimes physical and fictional space are to be seen simultaneously; sometimes the representational gap between physical and fictional space is kept open for a surprisingly long time. Such exposure of the process of theatrical representation, I argue, can draw the audience in as a co-participant in a drama’s production.

Hubble, ROSAT yield dramatic space photos

1990 ◽  
Vol 68 (43) ◽  
pp. 29
Author(s):  
RICHARD SELTZER
Keyword(s):  
Dramatic Space

scholarly journals Contemporary Adaptations of King Lear: Power and Dramatic Space in William Shakespeare, Edward Bond and Elaine Feinstein

2021 ◽  
Vol 28 ◽  
pp. 9-26
Author(s):  
Ana Abril Hernández
Keyword(s):  
William Shakespeare ◽  
King Lear ◽  
Early Years ◽  
The World ◽  
Human Psyche ◽  
Dramatic Space

In his tragedy King Lear (1605) William Shakespeare explores the human psyche through a story of an old king who gives up his land to his two eldest daughters and finds himself forced to wander in the space of the outcasts. In his modern version of this play entitled: Lear, Edward Bond resumes Shakespeare’s analysis of space and power in the figure of a monomaniac father who raises a wall against his enemies. The division of inner-outer spaces present in Bond is further explored in Elaine Feinstein’s and the Women Theatre Group’s work: Lear’s Daughters, which immerses the audience into the early years of Goneril, Regan and Cordelia. In this contemporary prequel to Shakespeare’s play the three princesses discover the world and the space they occupy in it from their seclusion in the castle. 

scholarly journals Espacios, sombras, no-lugares

2020 ◽  
Author(s):  
Mònica Güell
Keyword(s):  
Present Contribution ◽  
Literary Space ◽  
Dramatic Space

The present contribution aims to study two pieces of the Catalan drama author Lluïsa Cunillé, Barcelona, mapa d’ombres and Islàndia, and the rhapsodic pulsion of these texts in their relation to space: dramatic space and literary space. It also focuses on non-places and the notion of nowhere, and finally we examine the function of some touristic guides.

scholarly journals Dramatyczne przestrzenie Andrzeja Wajdy

2017 ◽  
pp. 7-10
Author(s):  
Anna Krajewska
Keyword(s):  
Urban Space ◽  
Creative Work ◽  
Dramatic Space ◽  
The Individual ◽  
As If

This editorial is an impressionistic work on Andrzej Wajda’s output, predominantly emphasising its dramatic nature. The text presents the uniqueness of Andrzej Wajda’s creative work in such diverse forms of art as if they were one – his painting metamorphosed into film, drawing into screenplay, urban space into a theatre stage. Wajda is seen here not only as a director, but also as a contemporary dramatist, who creates the dramatic space of history’s traps, who dramatises the fate of the individual, and who interprets the drama of the philosophical stage.

Darren Aronofsky's Dramatic Space

2021 ◽  
pp. 15-28
Author(s):  
Mehmet Yılmaz ◽  
Yılmaz Demir
Keyword(s):  
Film Analysis ◽  
American Cinema ◽  
Box Office ◽  
Dramatic Space ◽  
Darren Aronofsky

American cinema significantly makes use of universal narratives which originate from myths and religious stories. These narratives which are accepted universally address universe of common meaning values of humanity and people's common perceptions. Noah, directed by Darren Aronofsky, had a great box office success thanks to having a story which was based on a universally accepted holy narration. The director refictionalizes the narratives which serve as an inspirational source for the movie in order to adapt them to the cinematographic language and to express himself better through these narratives. Accordingly, Noah, the reinterpretation of a universal narrative by Aronofsky, is seen as a topic of analysis and evaluated from an intertextual perspective by a descriptive film analysis.

Staging the Liminal

2019 ◽  
pp. 85-122
Author(s):  
Leo Shtutin
Keyword(s):  
Proper Names ◽  
Fin De Siecle ◽  
Uncanny Valley ◽  
Human Form ◽  
Antonin Artaud ◽  
The Uncanny ◽  
Victor Turner ◽  
Fin De Siècle ◽  
Subject And Object ◽  
Dramatic Space

Chapter 3 implements the notion of liminality (the experience or condition of the betwixt and between) in an analysis of character and diegetic space in Jarry’s Ubu roi and Maeterlinck’s one-acts. Both playwrights’ characters are uncanny schematizations of the human form that blur the distinctions between subject and object, human and non-human, animate and inanimate. I examine the uncanny as a category of liminality, invoking Victor Turner, Antonin Artaud, the ‘uncanny valley’ theory of Japanese roboticist Masahiro Mori, and the fin-de-siècle cult of the marionette. Both playwrights also refuse to localize dramatic space, to transform it into a specific Somewhere by means of consistent diegetic framing. Deliberately eschewing any geographical or historical consistency in his use of proper names and toponyms, Jarry foregrounds the liminal character of his ‘Poland’ by mixing and matching names, accents, and costumes from various periods and locales. Maeterlinck, meanwhile, underscores the neither-here-nor-there-ness or indeterminacy of the dramatic situations in L’Intruse, Intérieur, and Les Aveugles.

Sign in / Sign up

Export Citation Format

Share Document