Evaluating Dramatic Performance

2021 ◽  
pp. 64-72
Author(s):  
Steven Porter
Keyword(s):  
Dramatic Performance

Commemoration through dramatic performance

2017 ◽  
pp. 195-218
Author(s):  
Angela Bartie ◽  
Linda Fleming ◽  
Mark Freeman ◽  
Tom Hulme ◽  
Paul Readman
Keyword(s):  
Dramatic Performance

ARISTOPHANES VS TYPHON: CO(S)MIC RIVALRY, VOICE AND TEMPORALITY INKNIGHTS

Ramus ◽  
2014 ◽  
Vol 43 (1) ◽  
pp. 25-44 ◽  
Author(s):  
Mario Telò
Keyword(s):  
Essential Role ◽  
Fifth Century ◽  
Political Factions ◽  
Dramatic Performance ◽  
Definition Of ◽  
Somatic Experiences

Recent studies have analysed the essential role of interpoetic rivalry in Aristophanes' comic imagination. Zachary Biles has shown that ‘festival agonistics provide an underlying logic for the overall thematic design of individual plays’ and that ‘the plays can be treated as creative responses to the competitions.’ Aristophanes' dramatisation of comic competition has been viewed as a reflection of the struggles of political factions in late-fifth-century Athens or as an expression of a ‘rhetoric of self-promotion’ that builds the comic plot through the mutual borrowing of comic material (jokes, running gags). This paper suggests thatKnightspresents interpoetic rivalry as a conflict of embodied aesthetic modes. In this play, Aristophanes' tendentious definition of his comic self against his predecessor Cratinus results in opposed ways of conceptualising the sonic quality of dramatic performance and its material effects on the audience. The nexus of voice and temporality, which, as I argue, shapes the play's agonistic plot, equates the intergenerational duelling of Aristophanes' and Cratinus' political counterparts (the Sausage Seller and the older Paphlagon, respectively) to a contrast of somatic experiences grounded in sound.

Dramatic performance gains of a novel circular vanadium flow battery

2015 ◽  
Vol 277 ◽  
pp. 104-109 ◽  
Author(s):  
Qiong Zheng ◽  
Feng Xing ◽  
Xianfeng Li ◽  
Tao Liu ◽  
Qinzhi Lai ◽  
...  
Keyword(s):  
Flow Battery ◽  
Dramatic Performance ◽  
Performance Gains

Playing "Theayter": Dramatic Performance in the Late-Victorian Fictional Slum

2003 ◽  
Vol 29 (2) ◽  
pp. 1-18
Author(s):  
Mary Ellen Kappler
Keyword(s):  
Dramatic Performance

The Commedia dell'arte: An Introduction

1998 ◽  
Vol 23 (2) ◽  
pp. 99-103 ◽  
Author(s):  
M. A. Katritzky
Keyword(s):  
Eighteenth Century ◽  
Sixteenth Century ◽  
Full Range ◽  
Early History ◽  
Precise Definition ◽  
Commedia Dell'arte ◽  
Street Theatre ◽  
Dramatic Performance ◽  
Stock Types ◽  
Definition Of

Although more has been written on the commedia dell'arte than on any other type of theatre, many fundamental questions remain unanswered, and opinions concerning its origins, early history, and definition are surprisingly divergent. It is evident that the term ‘commedia dell'arte’ would become virtually meaningless if it were stretched to include, without qualification, all manifestations of theatrical entertainment which feature characters representing, or deriving from, its stock types; or the full range of theatrical practises offered by the very versatile early comici d'arte, although all are of concern to commedia studies. The commedia dell'arte itself may be broadly defined as a type of professional dramatic performance associated with distinctive stock characters, that arose in mid-sixteenth-century Italy, whose evolving cultural derivatives have spread throughout Europe. Its stock types drew on a wide variety of sources, including mystery and mummers’ plays, carnival masks, street theatre and court entertainment; popular farces and erudite comedy; and have transcended the theatre to play key roles in music, dance, art and literature. The extreme complexity of its continuing interchanges with other cultural phenomena makes precise definition of the commedia dell'arte elusive, and the term itself also resists easy definition because it was coined only in mid-eighteenth-century Paris, two centuries after the type of theatre with which it is associated first came into being.

Music and dramatic performance in Wole Soyinka's plays

Muziki ◽  
2007 ◽  
Vol 4 (2) ◽  
pp. 178-189
Author(s):  
Zodwa Motsa
Keyword(s):  
Dramatic Performance

GaN: A Reliable Future in Power Conversion: Dramatic performance improvements at a lower cost

2015 ◽  
Vol 2 (1) ◽  
pp. 20-26 ◽  
Author(s):  
Alex Lidow ◽  
Johan Strydom ◽  
Robert Strittmatter ◽  
Chunhua Zhou
Keyword(s):  
Lower Cost ◽  
Power Conversion ◽  
Performance Improvements ◽  
Dramatic Performance
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