Appendix A: Sample Texts in Original Script and Transliteration

2021 ◽  
pp. 345-372
Keyword(s):  
Original Script

Bungei Kyōkai

2018 ◽  
Author(s):  
Guohe Zheng
Keyword(s):  
Performing Arts ◽  
Early Period ◽  
Merchant Of Venice ◽  
Original Script ◽  
The Merchant Of Venice ◽  
Financial Difficulties ◽  
Training And Research ◽  
A Doll's House ◽  
Second Period

Launched in February 1906 out of a drama club of Waseda University students, Bungei Kyōkai was one of the two pioneering organizations of the modernist movement in Japanese theater, the other being Jiyū Gekijō. Bungei Kyōkai, particularly its second period, is considered the beginning of shingeki for its contributions to Modernism in establishing professional actors and actresses in modern Japanese theater, in its impact on society, and in its having elite intellectuals as its leaders. During its early period Bungei Kyōkai was more reformative in nature; while it produced selected acts of The Merchant of Venice and Hamlet, it also produced Tsubouchi Shōyō’s modern kabuki Kiri hitoha (A Paulownia Leaf), and the role of Portia in Merchant was played by an onnagata (male performer of female roles in kabuki). This led to these resignation of disappointed members and the beginning of its financial difficulties. To overcome these challenges, Shimamura Hōgetsu, Tsubouchi Shōyō’s disciple and the de facto manager of the organization, persuaded his teacher to take direct charge from February 1909. Shōyō started Bungei Kyōkai’s later period by building, on the site of his own residence, a theater academy, intended for both training and research. The two-year co-educational academy program was quite rigorous, with Hōgetsu and Shōyō among the instructors and using as textbooks the original script of The Merchant of Venice and the English translation of A Doll’s House. Later, however, elements of traditional Japanese performing arts, including kyōgen and stage fighting, were added to the curriculum, reflecting Shōyō’s vision of a national theater as the ultimate goal of Bungei Kyōkai.

Pleasure and Danger

2021 ◽  
pp. 191-210
Author(s):  
Catriona Kelly
Keyword(s):  
Sexual Relationship ◽  
Original Script ◽  
The Way

Yuly Fait’s A Boy and a Girl (1966) created great controversy while it was being made and in the months leading up to its premiere in Moscow (immediately before which, the movie was pulled from the screen). The chapter contends that the reason for the uproar lay less in the sexual relationship between two teenagers at the heart of the film (which was present in the original script by prominent writer Vera Panova, and had not caused trouble during discussions) than in the alteration of nuance and tone that occurred during the filming, and especially the way in which Fait placed questions of pleasure and sensual gratification at the heart of the narrative.

scholarly journals Blackout: Theatre, Rugby and Samoan Masculine Identities

2021 ◽  
Author(s):  
◽  
Sepelini Mua'au
Keyword(s):  
Young Male ◽  
Pacific Island ◽  
Original Script ◽  
Contemporary Theatre ◽  
Final Performance ◽  
Writing Course ◽  
Personal Experiences ◽  
Practice Based Research ◽  
Internal Pressures

<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout. In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full-length play. Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world. This thesis is part of a practice-based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions. The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play. The second,how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights. The practical elements of the project will be evaluated through the submission of two scripts,the first draft and the final working script, the reflection of this process in the thesis including facets of a workbook and in the presentation of the final performance itself, a copy of which will be made available to all markers.  What drives the project is a desire to see how the experiences of young, male, Samoans might be represented theatrically and how this might be an effective way of connecting with community. This process has opened up two further questions, being:  What is the role of the writer in the rehearsal room?  What are the dramaturgical challenges of developing a script in-progress?</p>

scholarly journals Blackout: Theatre, Rugby and Samoan Masculine Identities

2021 ◽  
Author(s):  
◽  
Sepelini Mua'au
Keyword(s):  
Young Male ◽  
Pacific Island ◽  
Original Script ◽  
Contemporary Theatre ◽  
Final Performance ◽  
Writing Course ◽  
Personal Experiences ◽  
Practice Based Research ◽  
Internal Pressures

<p>This thesis examines key ideas concerning masculinity and Samoan identity, focusing on the external and internal pressures placed on Pacific Island athletes in New Zealand and abroad to inform the development of an original script, Blackout. In 2014, as part of an Honours script-writing course, I wrote a first draft for my first full-length play. Inspired by the work of Samoan playwright Oscar Kightley, Blackout is a play that intersects the story of four young Pacific Island boys in their last year of College with the journey of a talented young Pacific Islander in his mid-20s trying to make his way in the Professional Rugby world. This thesis is part of a practice-based research project, comprising a 60% theory-based thesis (25,000 words) and 40% practical component, developing the script through three workshop productions. The two working questions the thesis and production process centre on are, firstly how the experiences of young second generation Samoan males can be explored through a contemporary theatre text, enabling the research to develop the story and characters of the play. The second,how the development of this script can enhance an understanding of what it is to be an emerging playwright, grounding the piece in personal experiences and contributing discoveries for young Pacific Playwrights. The practical elements of the project will be evaluated through the submission of two scripts,the first draft and the final working script, the reflection of this process in the thesis including facets of a workbook and in the presentation of the final performance itself, a copy of which will be made available to all markers.  What drives the project is a desire to see how the experiences of young, male, Samoans might be represented theatrically and how this might be an effective way of connecting with community. This process has opened up two further questions, being:  What is the role of the writer in the rehearsal room?  What are the dramaturgical challenges of developing a script in-progress?</p>

REVISUALISASI AKSARA KAGANGA SEBAGAI IDENTITAS LAMPUNG

2019 ◽  
Vol 2 (2) ◽  
pp. 118-125
Author(s):  
Arif Budiman ◽  
PG. Wisnu Wijaya ◽  
Muhammad Hajid An Nur ◽  
Maria Veronika Halawa ◽  
Susi Susyanti
Keyword(s):  
Creative Thinking ◽  
Process Approach ◽  
Aesthetic Value ◽  
Cultural Traditions ◽  
Original Script ◽  
The Public ◽  
Communication Problems ◽  
Thinking Process ◽  
The Aesthetic ◽  
Research And Design

The research and design of the Kaganga Script Revisualization as Lampung Identity or Had Lampung is an attempt to provide aesthetic value to the conventional letter system. The aesthetic aspects that were given derived from Lampung cultural traditions, icons, and other visual idioms, such as ornaments on tapis cloth, carvings, traditional clothing accessories, and the stylization of Lampung's unique flora and fauna. The research method of the Kaganga script re-visualization is using Creative Thinking Process approach of Bryan Lawson, who applies steps in solving visual communication problems through several stages; (1) initial understanding (2) preparation (3) incubation (4) information (5) verification. Data analysis is done by considering several aesthetics factors; legibility, readability and unity. From several design or prototype alternatives that have been tested, the new Kaganga script using the Jungian (ship) motif was selected. This design uses Lampung traditional idioms to stylize the original script, which are the stylization of the Jung / Ship motif and the motif of Gold Thread Embroidery. Furthermore, this design can be continued on to the public testing and introduce it to Lampung public after it has been digitized.

Peeping Tom as a proto-slasher

2021 ◽  
pp. 43-60
Author(s):  
Kiri Bloom Walden
Keyword(s):  
Film Theory ◽  
Point Of View ◽  
Horror Films ◽  
Male Gaze ◽  
Original Script ◽  
Feminist Film Theory ◽  
Horror Genre ◽  
History Of ◽  
Feminist Film

We explore the film in the wider context of the history of the Horror genre. This chapter looks at the idea that Peeping Tom can be seen as a proto-Slasher. Looking specifically at the Cinematography and use of the ‘killer’s Point of View’ shot we see how Peeping Tom has also gone on to influence later Horror films. This chapter includes analysis of camera technique and elements of the original script. We look at the film in relation to film theory, especially feminist film theory which has developed in relation to the act of looking and the role of the ‘male gaze’ in Horror films.

Autobiographical adaptation in NBC’s Love Is a Four-Letter Word

2021 ◽  
Vol 11 (1) ◽  
pp. 113-131 ◽  
Author(s):  
Lynge Stegger Gemzøe
Keyword(s):  
Textual Analysis ◽  
Personal Life ◽  
Adaptation Process ◽  
Television Series ◽  
Theoretical Frameworks ◽  
Original Script ◽  
Letter Word ◽  
Production Studies

This article analyses the adaptation process from the Danish relationship drama television series ‘Nikolaj and Julie’ (2002–03) to Love Is a Four-Letter Word, the NBC pilot and remake attempt (2015). This comparison is a prime example of autobiographical adaptation, in which the adaptation process can be closely intertwined with a desire to tell autobiographical stories. Using production studies and textual analysis, the article illustrates how Diana Son, the showrunner responsible for adapting the original format into the NBC version, rewrote the original script using a location, themes and characters largely inspired by her personal life and surroundings. The article ultimately argues that in format adaptation, research combining established theoretical frameworks and approaches with the idea of autobiographical adaptation is likely to be a fruitful endeavour in a great many cases.

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