Giving Mirrors to Female Prisoners in Alice Birch’s [BLANK]

The paper at hand attempts to interpret a contemporary British playwright’s theatrical artistic attempt to present a disturbing social issue and to suggest possible modes of help. In [BLANK], Alice Birch confronts the audience with the ugly cycle of women’s criminal conducts, female criminals’ offending and reoffending. The playwright employs the theater of the absurd as a theatrical medium through which she portrays the absurd reality of these female criminals and their families. To confront and shock the audience with the ugliness of these charterers’ reality, Birch uses In-Yer-Face theater. Birch suggests that the female criminal characters are victims who need proper psychological and medical rehabilitation services to break the ugly cycle of reoffending. The playwright implies a very challenging question for the audience: is it possible to break some patterns of some biological genetic behaviors? That is, can female criminals, in [BLANK], break away from their criminal behaviors that are biologically innate through the help of medicine and psychology not just through some practices of traditional stigmatizing forms of discipline and punishment in the justice system that are often proven to be unreliable means of constraint? By shocking and confronting society with the ugly reality of many female prisoners, in [BLANK], Birch is trying to give these pathetic female characters’ voices, mirrors, selves, forcing society to acknowledge them as human beings who have an essential role in society.

ABSURDITY IN PUTU WIJAYA’S SHORT PLAY

Short play known as Drama Pendek (Drapen) is the latest form of Putu Wijaya's work. The play only ranges from two to twelve pages. From the number of pages, it is assumed that the drapen performance will only last five to ten minutes. Although only a short duration, Putu Wijaya is consistent with the aesthetic concept of terror. This concept, if traced further, is a derivative of the concept of the theater of the absurd. To see the possibility of performing the drapen, an analysis of the structure and texture of randomly selected drapes will be carried out. The analysis is carried out with a theoretical approach that sees the terror in the structure and texture in a drafted text. It is hoped that the results will show whether the short play meets the rules of dramaturgy to be performed on stage Key words: Short play, Theater of the Absurd, Putu Wijaya

« La lutte des sexes », ou les stéréotypes sur les femmes dans Une vie secrète de Lenormand, La Valse des toréadors d’Anouilh et Capitaine Bada de Vauthier

August Strindberg is considered the herald of modern drama. His protean work, which goes from naturalism to mystical aesthetics, anticipating surrealism and the theater of the absurd, even today defies, as it did in his epoch, by its brutal or cruel aspects. Without any doubt, the origin of a certain mistrust towards the author of Inferno would be his declared misogyny. It could be criticized on this subject for disclosing prejudices against women, which in the form of stereotypes, survive to this day. Nevertheless, many French playwrights are inspired by the infernal conflict between man and woman that the Swede describes with a stripping frenzy. Indeed, by analyzing the plays of the French theater of the first half of the 20th century, we notice that some authors take up the motive of the “struggle of the sexes” that will be reworked or “modernized” in their own way. It is interesting in this regard to study the vehicular discourse of clichés on women, found in the works of writers such as Henri-René Lenormand (A Secret Life), Jean Anouilh (Waltz of the Toreadors) and Jean Vauthier (Captain Bada). While none of these playwrights has ever openly declared their hostility to the so-called weaker sex, their texts provide a valuable reservoir of common ground on male-female relationships, which in most cases have not lost their actuality.

Interpretación da obra "Auto do prisioneiro", de Ricardo Carvalho Calero

Tocante ao teatro, Ricardo Carvalho Calero pódese considerar un inestimable contribuidor á creación e renovación do teatro galego do século XX, na etapa de posguerra. No seu teatro, sen adscrición a ningunha corrente literaria, podemos atopar dende propostas clásicas ata as máis modernas e mesmo algunhas moi próximas ao simbolismo e ao expresionismo. Auto do prisioneiro é a súa obra preferida e unha das máis representativas. Tematicamente, relicte un «problema existencial humano», cunha visión próxima ao teatro do absurdo e cargada de expresionismo e simbolismo. Unha obra da que cabe facer unha interpretación plural. As for Carvalho Calero’s playwrights, they can be considered an invaluable contributor to the creation and renewal of Galician theater in the twentieth century, in the postwar period. In his theater, without ascription to any literary current, we can ind from classical proposals to the most modern and even some very close to symbolism and expressionism. Auto do prisioneiro is his favorite work and one of the most representative. Thematically, it relects a «human existential problem», with a vision close to the theater of the absurd and laden with expressionism and symbolism. A work that can be interpreted in a plural way.

Computer Compassings

This chapter explains how not everyone accused of trying to bring down the monarchy—lom jao—ended up charged with lèse-majesté. It explores another case brought under a different law that illustrates similar issues to the Somyot case. The national security provisions of the 2007 Computer Crime Act offer an alternative means of prosecuting the allegedly disloyal, another notch along the treason spectrum. An illustrative example is the case of former broker Katha Pajariyapong, who was accused of making two web-board postings critical of royalty on the web board of Fa Diao Kan, a critical journal that featured on the April 2010 antimonarchy organogram. The Katha case frequently resembled a theater of the absurd: laughable charges, inept lawyers who wanted to quit, bungling prosecution witnesses, and a presiding judge who claimed to be on the side of the defendant before sending him to jail. Yet the consequences of these farcical proceedings were very real: Katha ultimately served a couple of years behind bars for a meaningless “crime” that brought the law into disrepute. The chapter then argues that judges again allowed their misguided understandings concerning how to show loyalty to the monarchy to take precedence over common sense. Katha's alleged actions had no effect on the country's national security, and no criminal intent was demonstrated during the trial.

Lecture on OBERIU

This is a lecture by Wiktor Woroszylski on the Russian avant-garde group OBERIU that functioned in the Soviet Union in the years 1926–1930. The lecture was given in 1979 as part of the independent Scientific Courses Society. OBERIU was a group of poets and playwrights whose works represented a variety of surrealism and anticipated the literature/theater of the absurd. Their inspiration, however, was not philosophy, but the Soviet reality itself and the tradition of the grotesque in Russian literature. The works of most of the OBERIU writers did not appear until long after their deaths.

Russian Studies in Żoliborz

This is a lecture by Wiktor Woroszylski on the Russian avant-garde group OBERIU that functioned in the Soviet Union in the years 1926–1930. The lecture was given in 1979 as part of the independent Scientific Courses Society. OBERIU was a group of poets and playwrights whose works represented a variety of surrealism and anticipated the literature/theater of the absurd. Their inspiration, however, was not philosophy, but the Soviet reality itself and the tradition of the grotesque in Russian literature. The works of most of the OBERIU writers did not appear until long after their deaths.