Gwangju Uprising from the Viewpoint of Social Drama

2019 ◽  
Vol 40 ◽  
pp. 123-156
Author(s):  
In-cheol Kang
Keyword(s):  
Social Drama

Feminism in the French Theatre: a Turn-of-the-Century Perspective

1986 ◽  
Vol 2 (7) ◽  
pp. 237-242
Author(s):  
Elaine Aston
Keyword(s):  
Social Change ◽  
Turn Of The Century ◽  
Social Drama ◽  
The Social ◽  
French Theatre

Even to sympathetic theatrical observers, ‘feminism’ in France at the turn of the century was often regarded as merely incidental to the larger concerns of the ‘social’ drama; and dramatic debate tended to focus on the issue of a woman's assertion of ‘freedom’ versus her presumably ‘natural’ functions as wife and mother. In this article, Elaine Aston illuminates such attitudes, utilizing both the texts of contemporary plays and discussion in journals current at the time. But she also detects early theatrical evidence of a slow shift towards a questioning of prevailing assumptions – and a belief (which today strikes her as enviable) in the power of theatre to effect social change.

Enrique Gaspar and the Social Drama in Spain

1945 ◽  
Vol 13 (3) ◽  
pp. 266
Author(s):  
G. R. Hernandez ◽  
Leo Kirschenbaum
Keyword(s):  
Social Drama ◽  
The Social

scholarly journals Tragedy and social drama in Arthur Miller's Death of a Salesman

2019 ◽  
Author(s):  
AWEJ-tls for Translation & Literary Studies ◽  
Tahar Bayouli ◽  
Imed Sammali
Keyword(s):  
Social Protest ◽  
Social Drama ◽  
Dramatic Form ◽  
Genre Classification ◽  
The Social ◽  
The Status ◽  
Death Of A Salesman

This paper examines the issue of genre classification in Death of a Salesman by focusing on the dialectic relation at the heart of the play’s structure between tragedy and social drama. It argues that the tragic resolution brought to the theme of social protest and the characterization of the protagonist is what gives the play its unique place as the quintessential modern tragedy. It is concluded that tragedy and the social theme are not mutually destructive in Death of a Salesman as some critics stated. Rather, they are combined to make an intense dramatic treatment of the modern American individual’s most pressing issues. Without being constrained by prescriptive standardized rules, Miller produced a dramatic form that rightly claims the status of what can be labeled a modern tragedy, appealing to modern audiences as rarely any other modern play did.

scholarly journals El trabajo informal en Colombia: drama social humano (Informal Job in Colombia: Human Social Drama)

2015 ◽  
Vol 2 (2) ◽  
pp. 52-61
Author(s):  
Fredy Eduardo Vásquez Rizo ◽  
Lina María Álvarez Padilla ◽  
Alejandro Mera Tapias
Keyword(s):  
Social Drama

Este artículo presenta una investigación realizada en el centro de la ciudad de Santiago de Cali, en la que se aborda una de las realidades más complejas y en aumento de los últimos años a nivel nacional: el trabajo informal. A través de cuatro historias de vida se presenta el drama social humano que viven a diario los trabajadores informales, por no contar con oportunidades reales laborales, por no tener niveles educativos adecuados, por carecer de recursos económicos y por el desinterés evidente del Estado.

‘Hy die nie vir sy eie mense sorg nie is slegter as ’n heiden’

KWALON ◽  
2016 ◽  
Vol 21 (3) ◽  
Author(s):  
Henry van der Burgt
Keyword(s):  
South Africa ◽  
Self Determination ◽  
Critical Event ◽  
Social Drama ◽  
Ethnographic Fieldwork ◽  
Differences Of Opinion ◽  
The Town

‘He who does not care for his own people is worse than a heathen’: A peek behind the scenes of the Orania community Henry van der Burgt The town of Orania stands out in contemporary South Africa as a community with the objective to restore Afrikaner freedom. For this purpose, the town strives towards self-determination: the community has its own land, its own institutions, and does its own labor. Following my ethnographic fieldwork, this article describes one critical event in which Orania allowed me, as an outsider, to take a peek behind the scenes. By analyzing this incident as a social drama we can look past the homogeneity through which Orania presents itself, and see meaningful differences of opinion with regard to how the community responds to outsiders.

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