அபசுரம் நாடக ஆற்றுகை: நெறியாள்கை வெளியும் பாத்திரவார்ப்பும் - ஓர் பங்குகொள் ஆய்வு

Apsura drama caused great twists in the history of Eelam Tamilans. The 1960s saw the emergence of a number of theatrical theories to express the inherent feelings of world drama and gave them new styles in the arena. They stood on different platforms in the theatrical setting and outside the river, focusing on the viewers and twisting their mental congestion to create clarity and taste. Absurd theatrical style also led to the development of new forms of action to bring their own unique inward expression to the history of the theater. The body language of the performer, the way the voice is expressed with fluctuations, and the stage movement gave a great turn. In its absurd style, Samuel Beckett wrote the play waiting for Godot. Waiting for Kodo changed the already builtin font structure, river mode, its acting, and stage movement, giving the viewer a new experience. The way language is handled in acting, the way it is spoken, the way it moves abnormally on stage, the meaning extends to acting with other character. The author N. Sundaralingam revealed in 1968 that the play Apasuram was written in the same style. It is a symbolic play that expresses the socio-cultural and political expression of the time. He brought the river to a standstill in 1975. Ordained by the College of Theater in 1978 and by the expatriate A.C. Tacitus in 1991. It was incorporated into Sri Lankan universities after 1991 in its full form and was developed in 2018 by a oneyear internship under the guidance of Senior Lecturer in Fine Arts, Eastern University, S. Chandrakumar. It was staged at the Nallaiya Hall on March 27 at the 2019 World Drama Festival. Voluntary, in order to respond to theatrical ethnographers, worked with self-discovery and invented new absurd modesty and evolved with creativity. The characters were shown on the stage shaking the body, moving, talking, lip muscle face, eye expression. The purpose of this study is to reveal the structure of the river, the way in which it is characterized by ethics, and the impact of cultural river sophistication.

Expressionism in the 'Midnight' by Josip Kulundžić

The aim of this paper is to get an insight into a part of Josip Kulundžić's expressionist drama through the analysis of the play Midnight and the playwright's attitude towards drama and dramatic and theatrical theories of the Italian playwright Luigi Pirandello. Starting from the assumption that Kulundžić's expressionist dramatic opus is one of the paradigmatic and poetically most significant dramatic opuses of Croatian and Serbian dramatic expressionism, the first part of the paper will systematise Josip Kulundžić's expressionist dramatic opus, show its features and value, and through the analyses of the play Midnight mark the author's attitude towards pirandelism as a significant phenomenon on the then world drama and theatre scene. This revalues the significance and role of Josip Kulundžić and his dramatic work within the framework of Croatian and Serbian literature of the first half of the 20th century.

Gearóid Ó Lochlainn: The Gate Theatre’s Other Irish-Speaking Founder

The association of the Gate Theatre with the Irish language has been always conceived via Micheál mac Liammóir; however, another of its founders, Gearóid Ó Lochlainn, was also Irish-speaking. Ó Lochlainn was a versatile actor in Irish and English, wrote a series of plays in Irish and translated into Irish works by Shakespeare, Ibsen and others. This chapter seeks to fill a gap in the story of the Gate by providing a brief biographical sketch of Ó Lochlainn, including his time in Denmark, a discussion of his role in efforts to establish Irish-language theatre in Dublin (specifically, An Comhar Drámuíochta, which was hosted by the Gate Theatre in 1930-1934), a summary of his involvement with the Gate, a critique of his original plays and his translations which, in introducing Dublin’s Irish-language theatregoers to world drama, complemented the mission of the Gate, and an assessment of Ó Lochlainn’s achievement.

PUBLICIST SPEECHES OF YURIY KOSACH ABOUT THE EUROPEAN THEATER IN THE PAGES OF EMIGRATION PERIODICALS

The purpose of the scientific study is a comprehensive analysis of theatrical concept of Yuriy Kosach through the prism of his culturological journalism, which was published in the pages of emigration journals. The study emphasizes that Yuriy Kosach's theatrical publications are a logical continuation of the theatrical critique of the Drahomanov-Kosach family, which formed the spiritual tastes of Ukrainians and generated their socio-political guidelines in light of development of the latest social sentiments in Europe and the world. The article highlights one of the facets of Yuri Kosach's journalistic activity: an attentive literary critic of world drama. Yuri Kosach's journalistic speeches on the peculiarities of the development of European theater, the specifics of the development of a new modern drama, published in the pages of emigration periodicals, are studied. The research focuses on the individual manner of Kosach-critic: the organic combination of scientific analysis and journalistic pathos in the study of significant dramatic phenomena of foreign literature, encyclopedic erudition, the accuracy of theoretical definitions. It is emphasized that the organic combination of journalistic talent and original creative practice in the field of drama made it possible to immerse deeply into the creative laboratory of foreign playwrights, to highlight the best that could contribute to the renewal of the Ukrainian theater. Some components of the theatrical concept of the publicist are clarified; elements of Yuriy Kosach's innovative approaches in covering an important worldview problem are highlighted. The article focuses on the publicist's theoretical reflections on the leading style in European drama of the postwar period and the secrets of the creative laboratory of the leading creators of modern drama in Western Europe in the second half of the twentieth century. The author of the article notes that the literary journalism of Yuri Kosach on the development of world drama is a reflection of his worldview, explains the heterogeneity of its ideological accents. Emphasis is placed on the relevance of the ideological sound of Kosach's journalism for the development of modern literary journalism.

“A Doll’s House Conquered Europe”: Ibsen, His English Parodists, and the Debate over World Drama

The London premieres of Henrik Ibsen’s plays in the late 1880s and 1890s sparked strong reactions both of admiration and disgust. This controversy, I suggest, was largely focused on national identity and artistic cosmopolitanism. While Ibsen’s English supporters viewed him as a leader of a new international theatrical movement, detractors dismissed him as an obscure writer from a primitive, marginal nation. This essay examines the ways in which these competing assessments were reflected in the English adaptations, parodies, and sequels of Ibsen’s plays that were written and published during the final decades of the nineteenth century, texts by Henry Herman and Henry Arthur Jones, Walter Besant, Bernard Shaw, Eleanor Marx and Israel Zangwill, and F. Anstey (Thomas Anstey Guthrie). These rewritings tended to respond to Ibsen’s foreignness in one of three ways: Either to assimilate the plays’ settings, characters, and values into normative Englishness; to exaggerate their exoticism (generally in combination with a suggestion of moral danger); or to keep their Norwegian settings and depict those settings (along with characters and ideas) as ordinary and familiar. Through their varying responses to Ibsen’s Norwegian origin, I suggest, these adaptations offered a uniquely practical and concrete medium for articulating ideas about the ways in which art shapes both national identity and the international community.