Employing the mediator elements in the aesthetics of the television image through the children's drama: توظيف عناصر الوسيط في جماليات الصورة التلفزيونية عبر دراما الأطفال

Given the importance of the subject of aesthetics of the television image in children's drama and its great impact in raising the level of artistic production of children's drama, and the interest of most satellite channels in this type of production that simulates different age groups for children, this research comes as a scientific attempt through which the researcher seeks to become familiar with the topic of the aesthetic of the television image in Children's drama, and its functions and all its parts in children's dramas, including dramas, cartoons, dolls, and children's cinema films, by analyzing scenes from different samples in order to reveal the aesthetics of the television picture and its parts and all its functions. Where the research in the first chapter reviewed the methodological framework indicating the introduction and problem of the research with an indication of the importance of the research and the extent of the need for it and its objectives, as well as identifying the definition of the search terms. Elements of cinematic language and its expressiveness and aesthetic connotations in children's drama, while the title of the second topic was the dramatic forms directed at children, through which the research reviewed the role of digital technologies and forms of drama, and the last topic represented the aesthetic of the artistic elements in children's drama, which was addressed through it to the directing artistic treatment and its aesthetics in Children’s drama, and the researcher came up with a set of indicators that were a tool for analyzing the research sample. Then the research reviewed the third chapter, which included the research procedures. The final chapter represented in the analysis of the research sample, through which he reached results, among which the works were distinguished by the simplicity of their events and the characters embodied in them that make the child He interacts with it being close to his reality. Among the conclusions that the aesthetic of the television picture is a means of conveying and expressing various contents through children's drama. Based on the foregoing, the research deals with an important aspect of the creative process in producing television drama for children, through the audio-visual medium, by identifying the aesthetics of the television image in children's drama.

Anvar obidjon is a children’s poet

This article focuses on A. Obidjon, who played a special role in the development of children's poetry and prose. At the same time, the artist, who thinks about the development of Uzbek children's drama, has created a dramatic epic, a play. Anvar Obidjan is an artist who has enriched not only children's prose and poetry, but also dramaturgy, as a children’s poet, known as a prose writer, he won the admiration of his fans with his dramatic works

Australian Television Drama Index, 1999-2019

This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.

Features of Russian fairy-tale drama of the first half of the 19th century: articulation of the issue

The paper deals with the issue of forming of fairy tales artistic model in Russian drama. Currently, one considers dramatic fairy tale mainly in a general context of development of the author's literary fairy tale, although it has its own specifics. The study reviews some questions on the style and genesis of the Russian literary fairy tale for children in relation to the development of author's literary fairy tale as such. The author analyzes the influence of poetics of romanticism on the specifics of dramatic fairy tale, as well as the features of dramatic works by V. F. Odoevsky, who significantly influenced children's literature. His play “The Tsar-Maiden,” intended for children, is considered in comparison with a play by E.-T.-A. Hoffmann “Princess Blandina,” with similarities found in the system of characters, motif of matchmaking and some plot features associated with this motif. The fairy-tale play for adults “Segeliel or Don Quixote of the 19th century” analyzes the motifs of personified confrontation of good and evil and the interpenetration of magic and the ordinary, which was characteristic of romanticism in general and embodied both in other works of Odoyevsky and in later, mainly children's fairy-tale drama. The author suggests the possibility of influence of Odoevsky's plays on the development of children's drama. In both plays, we see the conventionality of artistic reality, resonating with humorous or ironic author's intonation. The paper also addresses I. A. Krylov's magical comic opera “Ilya Bogatyr,” revealing many characteristic features of Odoevsky's plays. At the same time, a distinction is made between Krylov's work and romantic direction, since the tradition of classicism is more clearly manifested in it. One may consider a reduction in pathos owing to humorous playing of heroic and mystical motifs as a feature of the comic opera. The analysis of these works allows us to formulate some characteristics of artistic model of the fairy-tale play, including conventionality of a fictional world, unexpected turns, personification of good and evil, unsteadiness of boundaries between the miracle and the ordinary, as well as humor and irony.

INOVASI PEMBELAJARAN PENULISAN NASKAH DRAMA ANAK DENGAN MENGGUNAKAN STRATEGI IDCD (IDENTIFICATION, DESIGN, CHANGE, DAN DEVELOPMENT)

The writing children's drama scripts is an underdeveloped skill. This happens because students not understand who children and how characteristic children. One way to solve this problem is to innovate learning strategies. The strategic innovation is IDCD (identification, design, change, and development). This strategy was created for the needs of writing skills, especially writing children's drama scripts for students. Strategies were created to create learning more creative, innovative children's drama script writing, and children's drama scripts that are created according to the child's level of development.

Utilizing the Consensual Assessment Technique to Compare Creativity in Drama Spaces

Objective: This study examines the validity of Amabile’s (1982) consensual assessment technique in measuring creativity in a warm-up activity in fourth-grade drama classrooms and compares the scores between warm-ups occurring in a blackbox theater setting (experimental) vs. a traditional classroom (control). Method: Four professional actors viewed 60 clips of children’s drama warm-ups and scored for creativity, using a 5-point scale. After establishing sufficient inter-rater reliability (IRR), we used the average scores of the raters to compare creativity between the experimental and control groups. Results: The raters demonstrated high agreement, with a coefficient alpha estimate of .819. An independent samples t-test between the experimental and control groups was significant at p < .001, with the experimental group receiving higher scores. Conclusions: The results suggested that creativity was significantly higher in the experimental group, and the context correlated with creativity, despite neither group having yet received drama instruction at that time. This paper presents discussions about validity, opinions of the raters, possible implications for the activity itself, and possible effect of setting on creativity.

Fifty Years of Drama on Israeli Children’s Television

This article analyzes the changes in drama series in the first five decades (1966–2016) of Israeli children’s television. Based on interviews with 27 central producers, this cultural-historical study seeks to explain the significance attributed to children’s drama over the years. Early children’s drama series in Israel were instructional or educational, but they also sought to control the representation of childhood under the direct supervision of the state. The neo-liberal privatization process in Israeli society led to the creation of locally produced, Hebrew-speaking daily dramas on private channels for children. In the multiscreen environment created by the age of multichannel television and digital media, original Israeli daily drama shows functioned as a central branding tool for children’s channels. The article contends that these shows became one of the producers’ key answers to the changes in children’s viewing habits and, more particularly, linear television’s strategy for success in a world of multiple online screens.