A Study on Romanian Historical Dramas

2010 ◽  
Vol 13 (3) ◽  
pp. 111-123
Author(s):  
Jeong-O Park
Keyword(s):  
Historical Dramas

The Prequel: Setting the Analytic Stage

2018 ◽  
Vol 52 (1) ◽  
pp. 66-73
Author(s):  
Madeline C. Zilfi
Keyword(s):  
Middle East ◽  
Digital Media ◽  
Smart Phone ◽  
Reality Tv ◽  
Transnational Politics ◽  
Television Programming ◽  
University Of Maryland ◽  
Politics And Culture ◽  
Historical Dramas ◽  
Conference Papers

AbstractOutside the disciplines of communication and cultural studies, scholarly interest in television programming, especially scripted entertainment, has been overshadowed by attention to digital media, reality TV, and smart phone connectivity. A 2017 University of Maryland conference offered a reconsideration of popular Middle East-produced television dramas and their surprising impacts on national and transnational politics and culture. As conference papers showed, social and historical themes resonated in unexpected ways inside and outside national borders, with state authorities responding, not just with the usual censoring, but with investment in social and historical dramas of their own.

scholarly journals The work of the couple Brailowsky in the mirror of Serbian critiques

Muzikologija ◽  
2003 ◽  
pp. 81-113 ◽  
Author(s):  
Nadezda Mosusova
Keyword(s):  
King Lear ◽  
Merchant Of Venice ◽  
Richard Iii ◽  
National Theatre ◽  
The World ◽  
Historical Dramas ◽  
Queen Of Spades ◽  
Artistic Career ◽  
Edmond Rostand ◽  
Husband And Wife

Leonid (1867-1937) and Rimma (1877-1959) Brailowsky brought to Belgrade National theatre (together with other Russian emigrated stage and costume designers) the spirit of the World of Art (Mir Iskusstva), making d?cor and costumes for 18 performances during the period of 1921-1924. Les romanesques by Edmond Rostand, Le malade imaginaire by Moli?re, Shakespeare's Richard III, Merchant of Venice and King Lear and two Serbian dramas, Offenbach's Hoffmann's Tales, Faust by Gounod, Smetana's Bartered Bride, Bizet's Carmen Onegin and Queen of Spades by Tchaikovsky, Massenet's Manon, The Tsar's Bride by Rimsky-Korsakov, The Wedding of Milos by Petar Konjovic, the Serbian opera composer, two ballets, Sheherazade and Nutcracker. The artists, husband and wife, were praised for their modernization of the Belgrade scene, for their vivid realization of sets and costumes, for their novelties, especially in Serbian historical dramas by Branislav Nusic and Milutin Bojic, and Shakespeare as well. In operas and ballets they were also respected in some extent, but the pictorial, sometimes independent value of their scenic work, although inspired by music, arouse opposing questions among the musical critics, who could not accept their too bright colors which once conquered Paris in the scenic interpretation of Leon Bakst or Nikolai Roerich. To avoid resistance of Belgrade critics the couple decided to leave Yugoslav capital for Italy where they continued successfully their artistic career.

Shinpa

2018 ◽  
Author(s):  
David Jortner
Keyword(s):  
Middle Class ◽  
Domestic Life ◽  
New School ◽  
Documentary Theater ◽  
Japanese Word ◽  
Historical Dramas ◽  
The Creation

Shinpa, the shortened version of the Japanese word shinpageki, or new school drama, was an early Japanese attempt at reforming the theater along modernist lines. The plays featured flamboyant kabuki performance styles and modern realistic dialog; they were a mélange of plays from domestic dramas, to documentary theater to the early Japanese adaptations of Shakespeare. Shinpa dramas were generally based on stories of contemporary domestic life instead of historical dramas. Its plays often exploited the traditional kabuki devices of social obligations conflicting with love or other emotions (giri vs. ninjō). Initially, plays were composed by company actors and modified during performance runs. Many shinpa playwrights were essentially adapters who took serialized fiction novels and rewrote them for the stage. Shinpa also staged adaptations of Western drama including works of Shakespeare, Maeterlinck, and Sardou. These plays were often heavily adapted attempts at interweaving classical Japanese performance forms with Western texts. Other authors focused on the creation of gendaigeki [contemporary plays], which were about domestic problems among Japan’s growing middle class.

Francis Lieber — His Life and His Work: Part II

1911 ◽  
Vol 5 (2) ◽  
pp. 355-393 ◽  
Author(s):  
Ernest Nys
Keyword(s):  
New York ◽  
International Law ◽  
Federal Government ◽  
The United States ◽  
Public Law ◽  
Historical Dramas ◽  
Long Time ◽  
The Government ◽  
Civic Duties ◽  
The City

During the fourteen years that he occupied the chair of history and political economy at Columbia College, in the city of New York, Francis Lieber displayed praiseworthy activity. This period of his life covered some restless years; the theatre of operations was of a size whose equal can be shown by few historical dramas. Terrorstricken, the civilized world witnessed a tremendous struggle, whence, fortunately, the cause of civilization was to issue triumphant. The learned professor did not content himself with zealously performing his university obligations; neither was he satisfied with fulfilling his civic duties; he threw himself resolutely into the conflict; he fought with his tongue and his pen; he made himself the organizer and representative of a ceaseless propaganda for the Union cause against the secessionists; by his advice and by his legal works he gave the Federal Government the most valuable assistance. For a long time he had been occupied with public law; he now enlarged the field of his researches and his studies, and he studied ardently the laws of war and important problems of international law. The serious events taking place before his eyes led him, too, to write his opinions and to draft The instructions for the government of armies of the United States in the field, which will ever be an honor to him.

Elsewhere

2019 ◽  
Vol 72 (4) ◽  
pp. 63-67
Author(s):  
Bilal Qureshi
Keyword(s):  
Artistic Process ◽  
Historical Dramas ◽  
Communist Past ◽  
At Home

FQ Columnist Bilal Qureshi examines two recent German historical dramas that address the cultural and artistic process of grappling with the country's Nazi and Communist past: Florian Henckel von Donnersmarck's Werk ohne Autor (Never Look Away, 2018) and Christian Petzold's Transit (2018). He queries the two films’ highly divergent receptions at home and abroad and asks what Germany's rejection of the lush romanticism of Never Look Away—and embrace of Christian Petzold's unresolved puzzles—can tell us about the shifting grounds of how history is seen and interpreted on-screen in this moment.

A Basic Study on the Costume of TV Historical Dramas

2016 ◽  
Vol 19 (2) ◽  
pp. 41
Author(s):  
Da-Hye Shin ◽  
Na Hyun-Shin
Keyword(s):  
Basic Study ◽  
Historical Dramas

Nostalgic Fragments in the Thick of Things: Yuan Kewen (1890–1931) and the Act of Remembering

2019 ◽  
Vol 6 (1) ◽  
pp. 239-271
Author(s):  
Shengqing Wu
Keyword(s):  
Twentieth Century ◽  
Historical Memory ◽  
Phenomenological Analysis ◽  
The Past ◽  
Early Twentieth Century ◽  
Historical Figures ◽  
Historical Dramas

Abstract This article delves into the nexus of nostalgia, memory, and visuality by examining the images, objects, and events surrounding Yuan Kewen's remembrances of his father, Yuan Shikai, and their family estate in Huanshang. It also considers Zhang Boju's remembrance of his interactions with Yuan Kewen as another layer of historical memory. Phenomenological analysis of the act of remembering, especially in the work of Edward Casey, will be shown to yield rich insights when applied to China's early twentieth-century Republican culture. Surviving fragments—poems, anecdotes, photographs, and paintings—replete with sensuous and affective images of the past become the loci of memory in which these historical figures lived. Lamentation and reminiscence are also conducted through performance of historical dramas whose gestures of mourning and remembrance allowed Yuan to cultivate feelings of perpetual nostalgia through personal artistic expressions. The act of remembering became symptomatic for Yuan, Zhang, and to a large extent the entire generation of literati who experienced drastic social-political changes in the twentieth century.

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