147 Sentences With "dramaturgical" | Random Sentence Generator

But from a dramaturgical perspective, the play's slipperiness causes problems.

"We had also wanted to look at other dramaturgical possibilities for the work," Mr. Sunderland said.

No amount of charm — and Mr. Canada is charming — can make that dramaturgical device stop creaking.

These atmospherics, together with the generally conventional dramaturgical choices, lent the production a somewhat musty quality.

At a matinee performance I attended, several children were happy to volunteer sound effects and dramaturgical advice.

There's a real dog (Boscoe Barles) and a dead baby who comes as a jarring dramaturgical surprise.

I'll tell you this much, from a dramaturgical standpoint we do think about social issues in park design.

The head of the M.F.A. playwriting program at Brown University, Mr. Ehn has long been a dramaturgical renegade.

Yet, in context, they accomplished the more earthbound dramaturgical task of nimbly developing character or advancing plot without turgid exposition.

And especially in the second act you can feel Mr. Guirgis's dramaturgical anxiety mount as he tries to juggle too many stories.

Deep down in Mr. Trump's ungrammatical subconscious, some ancient understanding of the nature of dramaturgical, as opposed to oratorical, discourse briefly stirred.

A family gathering for a wedding is such an old dramaturgical trope that I usually blank out when I come across it.

The residencies come with a $10,000 development fee, in addition to technical and dramaturgical support, as well as housing, meals and transportation.

But the screens are a clever dramaturgical tool, too, and they allow van Hove to give the production the quick-cut pacing of a movie.

In any case, six are way too many for Richard Greenberg's hermetic family comedy, a modest story inflated to unwarranted size by what appears to be dramaturgical panic.

Mr Khan reassures that he has "tried to honour the dramaturgical structure" of the play, while "being bold about allowing ourselves to depart from it when we need to".

The orchestra's general manager, Michael Bladerer, explained that Mozart's output of 41 symphonies is too vast, while the symphonies of Dvorak, for example, do not create a consistent dramaturgical arc.

But this problem was the challenge, and a dramaturgical departure point: how can we combine this two opposing approaches to 'being in the here and now,' one passive (Feldman), one active (interactivity).

In earlier works, she has taken her dramaturgical chain saw to such staples of mainstream narrative entertainment as the police procedural ("Grimly Handsome") and the babealicious action series ("Every Angel Is Brutal").

Pretty as this may be, it takes us further from the facts of both stories; Song's frantic attempts to hustle between them eventually give the play a bad case of the dramaturgical bends.

But if Jack is convincingly darker than your typical sitcom denizen, Mr. Perry doesn't have the verbal and dramaturgical skills as an author to take the play — his first — where the character is leading.

The place where peculiarity and patriotism meet is the dramaturgical sweet spot Mr. Daisey explores in his new monologue, which had its premiere this month in workshop performances at the Woolly Mammoth Theater in Washington.

But the best dramaturgical presentation is the humanoid robotic metaphor of an awakening of posthumanity in School of Moon (21982), a dance choreographed by Eric Minh Cuong Castaing for the Ballet National of Marseille in conjunction with digital artist Thomas Peyruse and roboticist Sophie Sakka.

Dazzling though Mr. Frayn's engineering is, "Noises Off" would be a mere dissertation in clever dramaturgical mechanics, were it not for the expertly drawn characters, here embodied by a first-rate cast well aware of the addictions, indulgences, pretensions and general egotism of actors (some actors!) that Mr.

Younger readers acclimated to the habits of texting and social media might mistake that last line (and much of Bidart's work) as an instance of shouting, but the amplification here is dramaturgical and sublime, investing his plea, as Longinus reminds us, with an expressive grandeur everywhere in these poems.

Reshuffling and montaging its scenes, adding live Greek-style music (by Michael Bruce), interpolating shards of at least four other Shakespeare plays and the entirety of Sonnet 53, he and Emily Burns, who together edited the text, attempt the dramaturgical paradox of making one unified work from the spare parts of many.

This is just the latest dramaturgical feat by the Los Angeles-based Mr. Sharon — whose own opera company, the Industry, has in the past staged a single opera around the city, with limousines driving audience members from scene to scene, and put on a "War of the Worlds" both inside and outside Walt Disney Concert Hall.

Social interaction as drama: applications from conflict resolution. Sage, 1985. • Hare, Alexander Paul, and Herbert H. Blumberg (Eds.). Dramaturgical analysis of social interaction.

Turner's dramaturgical research focuses on the relationship between performance and place, an area she has explored and documented in her book Dramaturgy and Architecture: Theatre, Utopia and the Built Environment.

Uwe Harten: Carl Debrois van Bruyck (1828–1902). Leben und Wirken als Musikschriftsteller. Nebst Familienchronik, Kompositions- und Schriftenverzeichnis. He then worked as a dramaturgical assistant at the Vienna Chamber Opera.

Developed by Erving Goffman,. dramaturgy (aka dramaturgical perspective) is a particularized paradigm of symbolic interactionism that interprets life to be a performance (i.e. a drama). As "actors," we have a status, i.e.

It is claimed to be drafting on positivism, which does not offer an interest in both reason and rationality. John Welsh called it a "commodity."Welsh, John. 1990. Dramaturgical Analysis and Societal Critique.

While an actor (speaker) tries to project a desired image, an audience (listener) might attribute a resonant or discordant image. An example is provided by situations in which embarrassment occurs and threatens the image of a participant.Goffman 1956 Goffman proposes that performers "can use dramaturgical discipline as a defense to ensure that the 'show' goes on without interruption." Goffman contends that dramaturgical discipline includes: # coping with dramaturgical contingencies; # demonstrating intellectual and emotional involvement; # remembering one's part and not committing unmeant gestures or faux pas; # not giving away secrets involuntarily; # covering up inappropriate behavior on the part of teammates on the spur of the moment; # offering plausible reasons or deep apologies for disruptive events; # maintaining self-control (for example, speaking briefly and modestly); # suppressing emotions to private problems; and # suppressing spontaneous feelings.

The origins of ethogenic social science are in microsociology and symbolic interactionism: in particular, Erving Goffman's dramaturgical sociology and Harold Garfinkel's ethnomethodology.Burkitt, Ian. (1991). Social Selves: Theories of the Social Formation of Personality. London: Sage Publications, 55-61.

In 2011, Duncan Reyburn referred to dramatology, in connection with the philosophy of G. K. Chesterton, as a "dramaturgical" hermeneutic approach that is rooted in a "dramatic understanding of the nature of being".Reyburn, Image & Text, no. 18, 2011.

Depending on the general perspective of the theoretical tradition, there are many types of role theory, however it may be divided into two major types, in particular: structural functionalism role theory and dramaturgical role theory. Structural functionalism role theory is essentially defined as everyone having a place in the social structure and every place had a corresponding role, which has an equal set of expectations and behaviors. Life is more structured, and there is a specific place for everything. Contrastly, Dramaturgical Role Theory defines life as a never-ending play, in which we are all actors.

In 1735, she wrote a one-volume Companion to the Theatre. This book contains plot summaries of contemporary plays, literary criticism, and dramaturgical observations. In 1747 she added a second volume. After the Licensing Act of 1737, the playhouse was shut against adventurous new plays.

Lebenslauf of Ulrike Liedtke, ulrike-liedtke.de, retrieved 13 May 2020. From 1978 to 1985, she worked as a dramaturgical freelancer in the field of booklets and introductions for the Gewandhaus in Leipzig. She also wrote numerous reviews for the Leipzig and Magdeburg regional press.

However, such praise has not been universal. Comparing the piece to Adams' opera El Niño, Zachary Woolfe of The New York Times called The Gospel According to the Other Mary "more crowded and less coherent", and the piece has been described as having dramaturgical flaws by multiple critics.

In 1928 he produced a notable adaptation of the unfinished episodic comic Czech novel The Good Soldier Schweik. The dramaturgical collective that produced this adaptation included Bertolt Brecht.Willett (1978, 90–95). Brecht later described it as a "montage from the novel".See Brecht's Journal entry for 24 June 1943.

Today Schmidman is the Theatre's Director, with Megan Terry serving as the playwright-in- residenceMalinowski, S. (1994) Gay & Lesbian Literature. St. James Press p. 34. and as Magic Theatre's "literary manager"Zelenak, M.X. (2003) "Why We Don't Need Directors: A Dramaturgical/Historical Manifesto," Theatre Topics. 13(1) p. 107.

In his classical work The Presentation of Self in Everyday Life, Erving Goffman used an extended paragraph of Sansom's A Contest of Ladies to develop his model of the social role and the dramaturgical approach to sociology.Erving Goffman, The Presentation of Self in Everyday Life, Anchor Books, 1959, pp. 4ff.

ISSN 1105-0462. "L'esthétique du quotidien" Diogène 2011/1-2 (n° 233-234). consistently analyze the wide spectrum of the non-artistic within personal and collective experience. The role of the aesthetic is examined through symbolic interaction, identity negotiation and dramaturgical performance to produce specific sensitive effects and impact upon sensibility.

In the original 1924 production, Brecht developed many of his "new staging and dramaturgical techniques" for what came to be known as epic theatre, and which eventually profoundly impacted 20th century theatre.John Willett, The Theatre of Bertolt Brecht: A Study from Eight Aspects. Third rev. ed. (Methuen, 1967) 25–26.

He became a juror at the Society's soloist competition. The Niederrheinische Chormusikfest in Mönchen-Gladbach appointed him to its honorary committee. Stieber was also a member of the Richard-Strauss-Gesellschaft and the Gesellschaft für Musikforschung. On behalf of the Leipzig Musikhochschule he carried out music-dramaturgical research on contemporary opera works.

Ries took Beethoven's death quite hard. Ries said to his brother Joseph, "I cannot tell you how sorry it makes me feel," "I would so gladly have seen him again." Discussions on the shape of the libretto continued quickly. Ries, finding it lacking in brevity, variety, and "good theatrical effect," asked Wegeler for dramaturgical assistance.

The reviews in the country's Serb media were generally negative: Nezavisne novine's Davor Pavlović refers to the film as being "poorly directed" and concludes that its main flaws lay in "neither being able to treat the subject matter with sufficient seriousness nor to raise its dramaturgical level above that of a typical Hollywood action movie".

Trevino, James. 2003. Goffman's Legacy. Rowman & Littlefield Publishers. p. 35. Believing that all participants in social interactions are engaged in practices to avoid being embarrassed or embarrassing others, Goffman developed his dramaturgical analysis, wherein he observes a connection between the kinds of acts that people put on in their daily life and theatrical performances.

In dramaturgical sociology, it is argued that the elements of human interactions are dependent upon time, place, and audience. In other words, to Goffman, the self is a sense of who one is, a dramatic effect emerging from the immediate scene being presented.Ritzer, George. 2007. Contemporary Sociological Theory and Its Classical Roots: The Basics.

Her performances lack dramaturgical plot. They are noted for their syncopated rhythms, which serve to “both disrupt and, paradoxically, prolong time.” She “provides an alternative experience of space and time, which is not end-driven but steady and enduring.”Guy Brett, “Time Being,” Monika Weiss Five Rivers, Lehman College Art Gallery / Les Editions Samuel Lallouz, 2005 pp. 23-28.

If the actor succeeds, the audience will view the actor as he or she wants to be viewed. A dramaturgical action is a social action that is designed to be seen by others and to improve one's public self-image. In addition to Goffman, this concept has been used by Jürgen Habermas and Harold Garfinkel, among others.

From 1882 to 1912 Reuss-Belce sang at the Bayreuth Festival where she first appeared in different roles. From 1899 however she sang only the part of Fricka, which was described as her most brilliant role. She proved to be formative for the style of these Wagner- Festspiele. From 1908 to 1933 she was also dramaturgical assistant of the plays.

See Innes (1983, 67–172). The different arrangements of the screens for each scene were used to provide a spatial representation of Hamlet's state of mind or to underline a dramaturgical progression across a sequence of scenes, as visual elements were retained or transformed.Innes (1983, 165–167). In terms of costume design there were also differences between the two artists.

In addition, he is also a dramaturgical out to produce and ensure programs and Orange Musicblok. He is currently working on a radio show on 105.9 RockZone with his own eponymous show, Andělská dvacítka, and features his own TV show on TV Slušnej Kanál. He was a jury member for the jury panel of the Czech Republic during the Eurovision Song Contest 2016.

During the front stage, the actor formally performs and adheres to conventions that have meaning to the audience. It is a part of the dramaturgical performance that is consistent and contains generalized ways to explain the situation or role the actor is playing to the audience that observes it. The actor knows that they are being watched and acts accordingly. This is a fixed presentation.

Willett and Manheim (1970, vii) and Thomson (1994, 25). The play is written in a form of heightened prose and includes four songs and an introductory choral hymn ("Hymn of Baal the Great"), set to melodies composed by Brecht himself. Brecht wrote it prior to developing the dramaturgical techniques of epic theatre that characterize his later work, although he did re-work the play in 1926.

But the expression is sometimes used more loosely; cf. Lane Relyea, ‘Toba Khedoori’, Artforum International, vol. 35 (Summer 1997); Barton Beebe, 'Law's Empire and the Final Frontier: Legalizing the Future in the Early Corpus Juris Spatialis’, Yale Law Journal, vol. 108, No. 7 (May 1999); Zdeněk Hořínek, ‘Naděje a zoufalství aneb Negativní transcendence’ [Hope and Despair or Negative Transcendence], Divadelní revue [Dramaturgical Review], No. 4, 2005.

Zehelein received the German critics prize for his dramaturgical work at the Frankfurt opera in 1983. He also received the Order of Merit of Baden-Württemberg in 2001, for his work in the state. The first class Order of Merit of the Federal Republic of Germany was granted him in the summer of 2006. In 2007 he became a member of the Bavarian Academy of Arts (Bayerische Akademie der Schönen Künste) .

Bake Off launched in 2012 and features several local playwrights who create ten-minute scenes with a surprise set of three "ingredients". The playwrights are given eight hours to write their scenes. The winning playwright receives dramaturgical assistance to develop their scene into a full play which will then receive a staged reading at the next FemFest. FemFest celebrated its 10th anniversary in 2012 from September 15 to 22.

In the following years, the Schaubühne directed by Stein and his dramaturgical assistant Botho Strauß became one of the leading theatre stages in Germany. In 1999, Thomas Ostermeier took over as artistic director at Schaubühne am Lehniner Platz in Berlin, alongside co-directors Jens Hillje and Sasha Waltz. Waltz opened the Schaubühne under new direction with the debut of Körper (2000). With a move towards social theatre, attendance increased by 14%.

Sabine Derflinger (born 1963 in Wels, Austria) is an Austrian film director, screenwriter, producer and dramaturgical consultant. She lives and works in Vienna and Berlin. Many of her films have won several awards, notably Geraubte Kindheit (Stolen Childhood), Vollgas (Step on it), Kleine Schwester (Little Sister), 42plus and Tag und Nacht (Day and Night). She is also well known for directing a number of films in the cult series Tatort.

2003 nominated for Alfred Radok Awards (for dramaturgical achievement, production of Thomas Bernhard’s play Heldenplatz [Heroes’ Square]. Divadlo Na zábradlí, directed by Juraj Nvota). 2005 Europäisches Festival des Debütromans (European Festival of the First Novel) in Kiel (the novel A já pořád kdo to tluče / The Devil by the Nose). 2007 Magnesia Litera award for the best prose work of the year (for the novel Peníze od Hitlera / Money from Hitler).

The instrumentation of the original p53 project consisted of two grand pianos, amplified turntables, a homemade electric guitar, percussion, electronics and real time processing. One of the pianists was instructed to play "a few small sections from the classical repertoire", in any way and at any tempo, while the other musicians were free to improvise around them, under certain dramaturgical rules. Glandien periodically played back amplified and distorted live samples of the pianists.

Lane Lasater, Sharon Wegscheider-Cruse, Janet E. Gustafson, . (2000). Recovery from compulsive behavior: how to transcend your troubled family . Los Angeles, CA: Wellness Institute, Inc.. Ossorio in his 2006 volume, The Behavior of Persons, explicated the concept of "Persons" by creating a conceptual map of the interdependent concepts of "Individual Person", "Language", "Action", and "Reality". He described persons as individuals whose history is, paradigmatically, a history of Deliberate Action in a dramaturgical pattern.

The Theater Laboratory has produced some twenty plays, including world classics (Sophocles' Antigone, Oscar Wilde's Salome, August Strindberg's A Dream Play, Euripides'/I. Brodsky's Medea), as well as modern European dramaturgical efforts (Fosse/Frostenson/Fragments, Milorad Pavic's Party). Some of the plays have never been performed in Russia before (Igor Terentiev's Iordano Bruno, Antonin Artaud's Samurai or ..., Dzeami Motokie's Kagekie, Jean Genet's Elle and William Butler Yeats' The Only Jealousy of Emer).

Egmont is a play by Johann Wolfgang von Goethe, which he completed in 1788. Its dramaturgical structure, like that of his earlier Sturm und Drang play Götz von Berlichingen (1773), is heavily influenced by Shakespearean tragedy. In contrast to the earlier work, the portrait in Egmont of the downfall of a man who trusts in the goodness of those around him appears to mark a shift away from Sturm und Drang values.

Or at least, that appears to have been Chapman's intent. Critics have complained at how the moralizing protagonist of the opening scene becomes the ruthless passion-driven anti-hero of the rest of the play. Some have argued that in Bussy D'Ambois Chapman sacrificed logical and philosophical consistency for dramaturgical efficacy, for "force and vehemence of imagination" (to quote Algernon Charles Swinburne). His succeeding French histories are more consistent intellectually, but also far more dull.

Craig had envisaged visible stage-hands to move the screens, but Stanislavski had rejected the idea, forcing a curtain close and delay between scenes. The screens were also built ten feet taller than Craig's designs specified. See Innes (1983, 167–172). These arrangements were used to provide a spatial representation of the character's state of mind or to underline a dramaturgical progression across a sequence of scenes, as elements were retained or transformed.

The origins of the performative turn can be traced back to two strands of theorizing about performance as a social category that surfaced in the 1940s and 1950s. The first strand is anthropological in origin and may be labelled the dramaturgical model. Kenneth Burke (1945) expounded a 'dramatistic approach' to analyse the motives underlying such phenomena as communicative actions and the history of philosophy. Anthropologist Victor Turner focussed on cultural expression in staged theatre and ritual.

"Radio interview for Deutschlandfunk, quoted in Weber (1984. 83). Müller links his dramaturgical experimentation explicitly with the attempt, given its most programmatic formulation by Strindberg eighty years earlier, to render a dream-logic in dramatic terms: :"I have always been interested in the structure of stories within dreams, how it is free of transitions, and associations are overlooked. The contrasts create acceleration. The whole effort of writing is to achieve the quality of my own dreams.

New York: Elsevier. had earlier presented his notions of dramatism in 1945, which in turn derives from Shakespeare. The fundamental difference between Burke's and Goffman's view, however, is that Burke believed that life was in fact theatre, whereas Goffman viewed theatre as a metaphor. If we imagine ourselves as directors observing what goes on in the theatre of everyday life, we are doing what Goffman called dramaturgical analysis, the study of social interaction in terms of theatrical performance.

During the off season, NYMF produced a number of concerts, from large star-studded evenings like "The Unauthorized Musicology of Ben Folds", to intimate events like a salon with composer Duncan Sheik. It also operated a year-round writer service program, The Next Link Project, which provided dramaturgical, professional, entrepreneurial and financial support to help writers bring their musicals to fruition as fully staged productions. The Next Link Project culminated with twelve writing teams each year receiving subsidized productions in NYMF's fall Festival.

Beginning with Freud, the psychoanalytic tradition shed some light on the dynamics of identity and personality development. Erving Goffman expanded the inquiry of identity with his dramaturgical theory, which emphasized the centrality of the social realm and the notion of self- presentation to identity. Later, Foucault further expanded the area of inquiry by contemplating how technologies could facilitate the emergence of new ways of relating to oneself. The most entrenched area of technoself studies is revolved around ontological considerations and conceptualizations of technoself.

Dark Odyssey was favorably reviewed by The New York Times. According to film reviewer Howard Thompson, the film is a "thoughtful, unpretentious and creatively turned little drama ... a fresh, economical approach to an ancient dramaturgical formula". Gary Morris, another film reviewer, describes the film as having "visual beauty and emotional power" and being a "literal Greek tragedy shot on location in New York City". Film critic Dan Georgakas describes the film as the "best film featuring Greek American characters ever made".

350 Dramaturgical perspective is one of several sociological paradigms separated from other sociological theories or theoretical frameworks because, rather than examining the cause of human behavior, it analyzes the context. This is, however, debatable within sociology. In Frame Analysis (1974), Goffman writes, "What is important is the sense he [a person or actor] provides them [the others or audience] through his dealing with them of what sort of person he is behind the role he is in."Goffman, Erving. 1974.

More specifically, a Person is an individual whose history is, paradigmatically, a history of Deliberate Action in a Dramaturgical pattern. Deliberate Action is a form of behavior in which a person (a) engages in an Intentional Action, (b) is cognizant of that, and (c) has chosen to do that. A person is not always engaged in a deliberate action but has the eligibility to do so. A human being is an individual who is both a person and a specimen of Homo sapiens.

Since persons are deliberate actors, they also employ hedonic, prudent, aesthetic and ethical reasons when selecting, choosing or deciding on a course of action. As part of our "social contract" we expect that the typical person can make use of all four of these motivational perspectives. Individual persons will weigh these motives in a manner that reflects their personal characteristics. That life is lived in a “dramaturgical” pattern is to say that people make sense, that their lives have patterns of significance.

Brome did not rely upon a single source for the plot of his play, though he was strongly influenced by the works of Ben Jonson, his model in most artistic and dramaturgical matters; the play's links with Epicene have been noted by critics. The play alludes to the device of blackface make-up employed in Jonson's The Masque of Blackness. Brome was also influenced by earlier works in city comedy and the writers in that subgenre. His play bears significant resemblances to Shackerley Marmion's A Fine Companion.

There was a concentrated Expressionist movement in early 20th century German theatre of which Georg Kaiser and Ernst Toller were the most famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. They looked back to Swedish playwright August Strindberg and German actor and dramatist Frank Wedekind as precursors of their dramaturgical experiments. Oskar Kokoschka's Murderer, the Hope of Women was the first fully Expressionist work for the theatre, which opened on 4 July 1909 in Vienna.

Stieber's works are stored in the Stieber Archive of the and as partially indexed Nachlass (edited by Gert RichterArchivbestände in der Bibliothek der Stiftung Händel-Haus, haendelhaus.de, retrieved on 25 May 2019.) in the library of the foundation Handel House of the city of Halle. To his body of compositions belong music- dramaturgical works such as operas, chamber operas und Singspiele, vocal music, including choral music, as well as orchestral and instrumental chamber music pieces. He was also the author of several stage plays.

Much more remarkable are his comedies. He is a perfect master of the art of weaving complications, and he prefers to select his subjects from the daily life of the upper and upper-middle classes. The best of these comedies are The Three Commands of Matrimony (1850), Tuneful Stevey (1855), Mamma (1857), The Reign of Woman (1862), and especially the farce Young Lilly (1849). He also translated Goethe's Egmont and Shakespeare's Richard III, and wrote a dramaturgical work entitled The Drama and its Varieties.

In 1920, there was another attempt to resurrect the play's production with Rachel herself playing the female lead, though it too was ultimately unsuccessful (Shafer 20). Finally, after over half a century, He and She was revived by the Washington Area Feminist Theatre in 1973 (Grottlieb 14). In accordance with the opinion of many dramaturgical scholars, it is “Crothers’ most complex and pessimistic exploration of feminism's impact on society” (Grottlieb 50). The play features a married couple, Anne and Tom Herford, who are both sculptors.

"Müller (1979b, 60). The play's structure, in which these different texts and experiences are articulated, is complex. "[T]he form or dramaturgy of my plays," Müller explains, "results from my relation to the material" (a relation which Brecht would call a 'Gestus'). He goes on to suggest that it may be the play's activation of many different historical periods (his own 'post-revolutionary' time, the late twenties of Brecht's Lehrstücke, that of post-revolutionary France) that has produced its collage-like "deviation from some dramaturgical norm.

His dramaturgical work continued to be accompanied by volumes of poetry and prose. Some of Różewicz's best known plays, other than The Card Index, include: The Interrupted Act (Akt przerywany, 1970), Birth Certificate (Świadectwo urodzenia, screenplay to an award-winning film by the same title, 1961), Left Home (Wyszedł z domu, 1965), and The White Wedding (Białe małżeństwo, 1975). His New Poems collection was nominated for the National Book Critics Circle Award in 2008. Różewicz's works have been translated into nearly all major languages.

For his performance, Barroso received several theatrical revelation awards in 1962. Barroso made his debut on Rede Globo in the series "Rua da Matriz", the station's first dramaturgical production, in 1965, mending a sequence of productions by the company over the next decades. Among his most popular TV characters are Tavico in Estúpido Cupido (1976) and Toninho Jiló in Roque Santeiro (1985), the latter his most outstanding character. Barroso died on August 12, 2019, in Rio de Janeiro after a long battle against pancreatic cancer.

The role could have been tailor-made for her. Ruth Welting, too, was "accomplished", but both Jules Bastin and Nicolai Gedda were disappointing. Bastin lacked the "finesse and vocal elegance" for Pandolfe, and Gedda was doubly disqualified from singing Prince Charming by his considerable years and his not being the en travesti mezzo-soprano that Massenet had intended. The album's chorus and orchestra were both excellent, the Ambrosians singing with unimpeachable technique and dramaturgical imagination and the Philharmonia making the most of Massenet's fresh, animated score.

Between 1970 and 1975, he worked as a dramaturgical assistant to Peter Stein at the West Berlin Schaubühne am Halleschen Ufer. After his first attempt as a writer, a Gorky adaptation for the screen, he decided to live and work as a writer. Strauß had his first breakthrough as a dramatist with the 1977 Trilogie des Wiedersehens, five years after the publication of his first work. In 1984 he published his important work Der Junge Mann (The Young Man, translated by Roslyn Theobald in 1995).

Bleyer is the younger brother of sports anchor Keith Bleyer. Bleyer was raised in Washington and had a role in the movie Twice in a Lifetime as a teenager. He went on to attend Stanford University, where he sang with the Stanford Fleet Street Singers and studied both communications and computer engineering, earning a degree in the former in 1994. He also had an internship at New York's Public Theater, where he assisted playwright Anna Deavere Smith and performed dramaturgical duties with playwright Tony Kushner.

The most prominent theme explored in this play is family. Solis submerges his audience into a story revolving around family and the relationship between brothers with conflicting morals. Using the premise of family as a foundation, Solis also exposes his audience to several other thought-provoking themes. The play explores the theme of second-generation Mexican-Americans struggling in an uphill battle in the land of unequal opportunity, and Solis sometimes spells this out using murky dramaturgical strategies while also masterfully utilizing metaphorical language.

Yu Shangyuan consistently adhered to Cai Yuanpei's idea of school governance and took the lead in writing the Syllabus of Performing Arts, Syllabus of director Arts and synopsis of stage design (Chinese: 表演艺术大纲, 导演艺术大纲, and 舞台设计提高). In 1959, Yu compiled various speeches: "criticism of Western dramaturgical theory" and "Drama Introduction". He also translated Baker's theatrical skills and other famous works. In 1959, he started teaching in Shanghai Theater Academy.

Dodd stages exhibitions with a dramaturgical approach, and considers her paintings "characters." This staging typically consists of a ritual entrance, furniture and other decorative arts assembled in the style of a "bohemian bazaar," and monumental canvas paintings. In a 2018 interview with artist Rashid Johnson, Dodd explained: “I think about painting in a theatrical way. [...] The paintings are actually characters that people have to interact with.” Dodd prefers her paintings be displayed in the round "as an object," rather than flush against a wall.

Rogue Machine Theatre's new play program began as a rehearsed reading series called Rogue's Gallery of New Plays. Audience feedback sessions were moderated and dramaturgical notes were given to promising scripts. The development process has evolved to a multi-stepped playwright-focused series of events beginning with a dramaturg led roundtable with four writers discussing of early drafts of their new plays. Subsequent steps include readings, discussions, workshops and a late night workshop production, leading to the goal of a fully produced new play.

The most famous aspect of the production is Craig's use of large, abstract screens that altered the size and shape of the acting area for each scene, representing the character's state of mind spatially or visualising a dramaturgical progression. The production attracted enthusiastic and unprecedented worldwide attention for the theatre and placed it "on the cultural map for Western Europe". Hamlet is often played with contemporary political overtones. Leopold Jessner's 1926 production at the Berlin Staatstheater portrayed Claudius's court as a parody of the corrupt and fawning court of Kaiser Wilhelm.

There he obtained a doctorate in 1973 with a thesis on dramaturgical principles in operas by Paul Dessau, Siegfried Matthus, Udo Zimmermann and Robert Hanell. Doctorate. In 1984 he habilited on the dramaturgy of the finale in operas by E. T. A. Hoffmann, Louis Spohr, Carl Maria von Weber and Heinrich Marschner. In 1985 he was appointed university lecturer, in 1988 associate professor and in 1990 professor for "Theory and History of Music Theatre" at the Humboldt University of Berlin. Since 1996 he had taught at several German universities.

International Journal of Public Opinion Research 13:229-244 (2001) Lazarsfeld made great strides in statistical survey analysis, panel methods, latent structure analysis, and contextual analysis. He is also considered a co-founder of mathematical sociology. Many of his ideas have been so influential as to now be considered self-evident. In 1959, Erving Goffman published The Presentation of Self in Everyday Life and introduced the theory of dramaturgical analysis which asserts that all individuals aim to create a specific impression of themselves in the minds of other people.

See Hagen (1991, 203-210). They may also argue that it is not only a matter of the interpretation of individual moments; the presentational dimension is a structural part of the meaning of the drama as a whole.The complexity of these dimensions of Shakespeare's dramaturgical strategies is outlined in Weimann (1965) and (2000); see also Counsell (1996, 16-23). This structural dimension is most visible in Restoration comedy through its persistent use of the aside, though there are many other meta-theatrical aspects in operation in these plays.

Seen as the most elaborate way of constructing messages, the fundamental premise of Rhetorical Design Logic is that “communication is the creation and negotiation of social selves and situations.” For communicators using this logic, messages are designed to portray what the speaker wants reality to reflect. Under this belief system, O’Keefe explains that “all meaning is treated as a matter of dramaturgical enactment and social negotiation.” As opposed to the conventional design logic, which says to design messages relevant to the given context, rhetorical design logic seeks to create the context using the designed messages.

The Presentation of Self in Everyday Life is a 1956 sociological book by Erving Goffman, in which the author uses the imagery of theatre in order to portray the importance of human social interaction; this approach would become known as Goffman's dramaturgical analysis. Originally published in Scotland in 1956 and in the United States in 1959,Macionis, John J., and Linda M. Gerber. 2010. Sociology (7th Canadian ed.). Pearson Canada Inc. p. 11. it is Goffman’s first and most famous book, for which he received the American Sociological Association's MacIver award in 1961.

He has also been a script assessor for the Australia Council for the Arts, The Australian National Playwright's Centre and Belvoir Street Theatre and has conducted acting and writing workshops for many organisations. He has been Artist-In-Residence at Charles Sturt University, Wagga Wagga, and has also taught acting and voice there on short- term appointments, as well as at the University of Wollongong School of Performing Arts. His dramaturgical work on the play Codgers by Don Reid contributed to that play winning the prestigious Rodney Seaborn Playwright's Award in 2006.

Melody's 2015 theatre show, called Hair Peace, was directed by Paul Hodson with dramaturgical guidance from Rachel Chavkin of the New York TEAM theatre company. On the Warwick Arts Centre website, Melody explained how the work developed from the themes of Major Tom: 'During my reign as Mrs Brighton a hairdresser gave me real human hair extensions. This prompted me to ask where the hair had come from, the hairdresser didn’t know. Last year HM Revenue and Customs recorded more than £38m worth of human hair entering the country.

Neil's musical, The Man Who Would Be King, written with DJ Salisbury, was produced at the NYMF Festival in NYC, and at the University of Buffalo in the fall of 2014. It had a developmental reading/workshop at The Village Theater in Issaquah, WA, directed by Tony Award winner Brian Yorkey (Next To Normal, If/Then). This followed a staged reading at the Rubicon Theater in CA. This show has been developed with dramaturgical guidance by Moises Kaufman of the Tetonic Theater Project. The fully orchestrated CD recording, featuring Brian d'Arcy James, Marc Kudisch and Mandy Gonzalez can be purchased at www.neilberg.com.

Magheru never sought for his plays to be staged, even though they are hardly lacking in well-crafted scenes, a modern dramaturgical vision and debates about moral and philosophical issues. He lived a withdrawn existence and did not participate in the literary life of the interwar period. Isolated between his laboratory and a circle of friends drawn from the contemporary artistic elite (including George Enescu, Jean Alexandru Steriadi, Theodor Pallady, Henri Catargi, Dumitru Ghiață and Iosif Iser), he continued to write after the King Michael Coup of 1944, but stopped publishing. Much of his late work has yet to be studied and published.

Asmus studied German and English Literature, Philosophy and Theatre Sciences in Hamburg, Vienna and Freiburg and spent a year in London in the late sixties where he lived in the vibrant Camden Town with the North Villas set. Experience as an actor and director at University drama groups. First publications (Theater heute, Shakespeare yearbook) After two years as co- director of Theatre in der Tonne (Reutlingen), he worked at the Schiller Theatre in Berlin as assistant director/dramaturgical collaborator and director. There he met Samuel Beckett in 1974 and was assistant for the author's renowned production of "Waiting for Godot", 1975.

Brahms considered giving up composition when it seemed that other composers' innovations in extended tonality resulted in the rule of tonality being broken altogether. Although Wagner became fiercely critical of Brahms as the latter grew in stature and popularity, he was enthusiastically receptive of the early Variations and Fugue on a Theme by Handel; Brahms himself, according to many sources, deeply admired Wagner's music, confining his ambivalence only to the dramaturgical precepts of Wagner's theory. Brahms wrote settings for piano and voice of 144 German folk songs, and many of his lieder reflect folk themes or depict scenes of rural life.

During 2012 - 2013 Vagn Lid has developed a trilogy called "Games of sorrow" (Norwegian: Sørgespill- triologien). In his music-dramaturgical conception, Lid searches for, and tries to articulate ... "the individuals inside the systems and, the other way around, the systems inside the individuals". The concept attempts "to overcome the gap between the typical individualization of the "classical" theatre on the one hand, and the statistical abstractions of the "documentary" theatre, on the other". The first of Vagn Lids Games of Sorrow was STRAFF (Punishment), performed for the first time at Logen Teater in Bergen, September dato 2012.

Its success spread throughout Europe, and it was performed at the most important theatres (Milan, Naples, Rome, Vienna, London and Paris). It had a deep influence on the following generations of composers and aroused the admiration of many celebrated musicians and musical critics such as Stendhal, Berlioz, Castil-Blaze and Chopin. The primary reason for this success is most certainly the high quality of the music involved, but the dramaturgical structure also presents significant material such as the mad scene involving Agnese's father Uberto (bass). In 1812, he succeeded Spontini as conductor of the Opéra-Italien in Paris.

Hochschild draws on the work of sociologist Erving Goffman as well as labor scholar Harry Braverman to discuss the dramaturgical demands and emotional labor entailed by jobs in the service sector, in which workers must "perform" certain roles that entail abiding by certain feeling rules (e.g. "friendly and dependable"). She notes that women are more likely to have such jobs than men, and that analysis of feeling rules may therefore be especially relevant to understanding the gendered dimensions of labor. This work foreshadows themes from her later analyses of women's work, both paid and unpaid, e.g.

The plot heavily emphasizes (and satirically criticizes) the proverb "Kleider machen Leute" (English: "Clothes Make the Man") in the context of the German Empire's militarized society, in which the high military gets all the social privileges while the little man is left with nothing. In exploring the case of a town duped by a character impersonating an authoritative figure, the play bears some resemblance to Nikolai Gogol's Russian classic, The Government Inspector (1836). Friedrich Dürrenmatt used a similar dramaturgical structure—a visitor to a provincial town—to satirical (although much darker) ends in The Visit (1956).

Composed with a "collage- like" dramaturgical structure, the play stages intertextual relationships with a range of classics from the modern theatre, each dealing with the models and ethics of revolutionary action: Brecht's The Decision (1930), Büchner's Danton's Death (1835), and Genet's The Blacks (1958), among others. The play also uses motifs from Anna Seghers' story "The Light on the Gallows" (which Müller had treated in a poem of 1958)Weber (1984) and Müller (1979b). and, Müller adds, "biographical events are involved, a trip to Mexico among others that was very important for me in connection with the play."Quoted by Weber (1984, 83).

Thomas McCarthy, Boston: Beacon Press, 1984. The structures of argumentative speech, which Habermas identifies as the absence of coercive force, the mutual search for understanding, and the compelling power of the better argument, form the key features from which intersubjective rationality can make communication possible. Action undertaken by participants through a process of such argumentative communication can be assessed as to their rationality to the extent which they fulfill those criteria. Communicative rationality is distinct from instrumental, normative, and dramaturgical rationality by its ability to concern all three "worlds" as he terms them, following Karl Popper—the subjective, objective, and intersubjective or social.

Logical construction and argument within absurdist theatre gave way to characteristics of irrational and illogical speech and the ultimate conclusion of silence. The Theatre of the Absurd involves a fascination with absurdity in a range of forms; the existential, philosophical, emotional and dramaturgical. The Theatre of the Absurd as a dramatic form inherently pushes theatre to the extreme, while posing questions about what both reality and unreality truly look like Martin Esslin named the four defining playwrights of the Theatre of the Absurd movement as Samuel Beckett, Arthur Adamov, Eugène Ionesco, and Jean Genet.Esslin, Martin (1961).

Currently she lives and works in Berlin. She is particularly interested in timbrical and dramaturgical questions and has particular preferences for theatrical concepts touching on language, space and music. From these emerged in 2007 the music-theater production Niebla (Europäisches Zentrum der Künste in Dresden Hellerau), written in close cooperation with the director Matthias Rebstock and setting new music-theatre standards. Currently she's preparing a new work for the stage together with the same art director: La ciudad de las mentiras, based on texts by Juan Carlos Onetti, on behalf of Gerard Mortier for the Teatro Real Madrid.

As Chapman's arguable masterpiece, Bussy D'Ambois has attracted a large body of critical commentary, discussion, and dispute. Scholars have debated Chapman's philosophical and dramaturgical intentions in the play, and whether and to what degree those intentions are successfully realized.Logan and Smith, pp. 134–7. Though no true consensus has been reached, many commentators regard Bussy as Chapman's idea of a moral hero at war with his own lower tendencies, wrapped in a conflict between his idealistic urges and the sheer power of his personality — a Marlovian hero with more conscience than Marlowe ever gave his own protagonists.

While some observers have perceived target girls as masochistic or passive and some feminists criticise the concept as misogynist, several target girls have given accounts of themselves as assertive women and portrayed their experiences as empowering (see Target girls as authors). Various theories have been put forward to explain the enduring appeal of the target girl. These range from simple awe at the display of steely nerves and complete trust to more complex psychological and philosophical theories. While some point to overtones of sadomasochistic eroticism, others cite dramaturgical works and point to parallels with the story arc of the hero in classic drama.

The play charts Joan's battle with Pierpont Mauler, the unctuous owner of a meat-packing plant. Like her predecessor, Joan is a doomed woman, a martyr and (initially, at least) an innocent in a world of strike-breakers, fat cats, and penniless workers. Like many of Brecht's plays it is laced with humor and songs as part of its epic dramaturgical structure and deals with the theme of emancipation from material suffering and exploitation. The play was broadcast on Berlin Radio on the 11 April 1932, with Carola Neher as Joan and Fritz Kortner as Mauler.

In May of that year, Brecht's In the Jungle premiered in Munich, also directed by Engel. Opening night proved to be a "scandal"—a phenomenon that would characterize many of his later productions during the Weimar Republic—in which Nazis blew whistles and threw stink bombs at the actors on the stage. In 1924 Brecht worked with the novelist and playwright Lion Feuchtwanger (whom he had met in 1919) on an adaptation of Christopher Marlowe's Edward II that proved to be a milestone in Brecht's early theatrical and dramaturgical development.Thomson (1994, 26–27), Meech (1994, 54–55).

The "Accumulation" group comprises works that unite different aspects of the artist's individual groups of works: Various sculptural techniques of Schramm evolve into a spatial frame of reference. The freestanding installations can be circumnavigated and read in a dramaturgical sequence. They take effect as narrative organisms, which in turn perform a positing within space. Felix Schramm negotiates shifts in various differentiated creative forms: he regards entirety in its recombinable parts, among them axes, rifts, warps, the potential alignment of the viewer's perspective, and, to that effect, points of intersection – in both a physical and allegorical sense.

"Face" is central to sociology and sociolinguistics. Martin C. Yang analyzed eight sociological factors in losing or gaining face: the kinds of equality between the people involved, their ages, personal sensibilities, inequality in social status, social relationship, consciousness of personal prestige, presence of a witness, and the particular social value/sanction involved. The sociologist Erving Goffman introduced the concept of "face" into social theory with his (1955) article "On Face-work: An Analysis of Ritual Elements of Social Interaction" and (1967) book Interaction Ritual: Essays on Face-to-Face Behavior. According to Goffman's dramaturgical perspective, face is a mask that changes depending on the audience and the variety of social interaction.

Of the 8 plays developed in each of the past 5 years, at least 7 are from the open-submissions process, with one writer typically being invited to participate. NPC offers writers a four-week residency at the O'Neill's campus, with strong dramaturgical and professional support. Professional actors, directors, designers, and technicians assist the writer in creating and shaping the play, culminating in two, script-in-hand readings for an audience. Sets, costumes, lights, sounds, and other design elements are only suggested with simple props and cues, to allow the writer the time and space necessary, should they wish to adapt or rewrite the script.

As virtual reality allows for several modifications and extensions of the actual track layout, the size of the virtual reality track can be much larger than the real one. This of course means that speeds can be much faster and heights much taller, as these aspects also grow with the increased dimensions. Most of all, there is no need to show an actual track or rails (which would give away what element comes next), other than for dramaturgical reasons. As the rider is totally immersed in the virtual reality world, one can even be tricked by giving hints on a wrong track direction and then e.g.

Problematic, if not pathological, behavior may arise if conditions for starting and continuing such a "drama of life" are insufficiently met. One of those conditions, the main one, is what Helwig calls "resistance": the resistance the physical and social environment offer to one's aims. If it is too much acting will be blocked, if it is too small action will be short-lived and be in want of intensity and impact. Helwig characterizes his approach both as dramaturgical (1958) and behavioristic (1964), the latter because overt behavior is seen as the primary phenomenon, to be explained from the interaction action-environment instead of hypothetical inner forces and features.

While the company enjoyed artistic success nationally and also overseas, the appointment of Yaron Lifschitz as Artistic Director in 1999 marked a significant shift of focus in the company's repertoire. Lifschitz, the youngest graduate from NIDA's prestigious directing course, saw the company explore circus form and aesthetics. It adopted the name Circa in 2004 From the Latin word for 'circle', Circa also relates to the same word as circus‚ 'in around, about' which "captures [the company's] questing, questioning attitude" and noting its linguistic similarity in many languages. With a strong emphasis on dramaturgical, musical and choreographic consideration when devising productions, Lifschitz's creations have earned Circa both international acclaim and financial success.

In addition to operas like Lohengrin, Così fan tutte, Der Rosenkavalier and Aida, several dramaturgical leitmotifs were to be found in the programming of the Opernwunder years of the Bruns era. A number of operas from the Entartete Kunst (Degenerate art) period were performed for the first time since being banned by the Nazis in the 1930s. Publishers and opera house staff recreated lost orchestral materials for productions of Bohuslav Martinů's Julietta, Karoly Rathaus' Fremde Erde, and Ernst Toch's Der Fächer. German romantic operas that had been lost since the 19th century were given new life, thus the rediscovery of Robert Schumann's Genoveva, Louis Spohr's Faust and Carl Maria von Weber's Die drei Pintos for the operatic stage.

In his highly influential The Presentation of Self in Everyday Life (1959), Erving Goffman emphasized the link between social life and performance by stating that 'the theatre of performances is in public acts'. Within the performative turn, the dramaturgical model evolved from the classical concept of 'society as theatre' into a broader category that considers all culture as performance. The second strand of theory concerns a development in the philosophy of language launched by John Austin in the 1950s. In How to do things with wordsAustin (1962) he introduced the concept of the 'performative utterance', opposing the prevalent principle that declarative sentences are always statements that can be either true or false.

Choreographer, composer, and designer combine their efforts to produce a coherent work in which all the elements, in harmony with each other, convey the feelings and ideas more powerfully. This concept of a unified work of art, previously theorized by Richard Wagner and, in the 18th century, by Jean-Georges Noverre, was popular among German artists in the early 20th century. Examples are found in the visual arts, for instance in the work of George Grosz and the Herzfelde brothers, or in the theatre of Erwin Piscator and his dramaturgical collective. The Green Table reflects a concern for social issues and the problems of that era (shared by many artists contemporary with Jooss) such as political corruption and militaristic policies.

During his time in Munich, Lee realized several film projects, worked as director and editor for various music-videos and commercials, produced more than 200 trailers for film and TV productions and acted as a screenwriter and dramaturgical consultant for ARD, BR, and ZDF productions such as “Tatort” and “Der Fahnder.” In 1998 his unconventional commercial “Zukunft passiert”, created for the electronic retail chain “Saturn”, entered the official competition for Cannes Golden Lion. Acting as a creative director for various image campaigns for leading broadcasting companies, such as SKY, PREMIERE, KIRCH GROUP, MTV, TAURUS and ProSieben Media AG, Lee absorbed the language of popular culture. This resulted in his debut "Death of Techno" - a post-neo realistic vision of the turn of the century.

While many theorists argue that all social interaction may be seen from a dramaturgical perspective, meaning all everyday social interaction becomes performance in some sense, Digital Live Art theorists often deliberately align their work with Richard Schechner,R. Schechner. Performance Theory. Routledge, 1988 narrowing their analysis to cover more stabilized ‘established’ forms of performance so that performance framing is defined as an activity done within the intended frame ‘by an individual or group’ who have some established knowledge about the frame, and are ‘in the presence of and for another individual or group’.Benford, S., Crabtree, A., Reeves, S., Flintham, M., Drozd, A., Sheridan, J.G., Dix, A. The frame of the game: Blurring the boundary between fiction and reality in mobile experiences.

Most of Katalin Ladik's performances balance on the borderline between performance art and theatre: the performance of sound poems is accompanied by theatrical body action and in many cases, the surrounding space is structured similarly to a traditional theatre. Those who examine her poetry often refer to her sound poetry performances. On the other hand, no detailed analyses have been produced about the dramaturgical characteristics of her performances, and the relations of sign systems between her poetry and performances. It is a well-reasoned choice, however, to locate her in the context of female performance artists, as Katalin Ladik uses her body and person as the medium of her art in her performances, which occupies a special position within the history of Western art.

Other small enclosed theatres followed, notably the Whitefriars (1608) and the Cockpit (1617). With the building of the Salisbury Court Theatre in 1629 near the site of the defunct Whitefriars, the London audience had six theatres to choose from: three surviving large open-air public theatres—the Globe, the Fortune, and the Red Bull—and three smaller enclosed private theatres: the Blackfriars, the Cockpit, and the Salisbury Court. Audiences of the 1630s benefited from a half-century of vigorous dramaturgical development; the plays of Marlowe and Shakespeare and their contemporaries were still being performed on a regular basis, mostly at the public theatres, while the newest works of the newest playwrights were abundant as well, mainly at the private theatres.

At the same time, there was not any internal connection between the respective views of celebration and genre of a play: a serious thing was performed when something serious was written, funny – when a comedy was in the presence. There is reason to doubt that F.U. Radziwill began writing drama only in the 1740s: the fragments of individual pieces were probably written before. Perhaps some of the draft could occur before 1732, when Princess actively mused upon the problems of love and marriage. However, because the evidence of the early dramatic experience doesn’t exist, the starting point of her dramaturgical and directorial activity is officially considered June 13, 1746, when in Nesvizh, in the summer residence Alba the comedy "Ingenious Love", dedicated to 44th anniversary of Prince Michael Casimir was staged.

In the year 2005 he became a member of the Evaluation Commission at the Academy of Architecture in Mendrisio. From 1988 until 2000 as Professor in Hamburg Jörg Friedrich taught courses in Drafting and the History of Architecture. He received an offer of a professorship in 1992 at the RWTH in Aachen and chaired the departments of Structural Concepts and the Theory of Architecture in 2000 at the Leibniz University in Hanover. Jörg Friedrich was Chairman of the Department of Architecture at the Free Academy of Arts in Hamburg from 1994 to 1998 where he is yet a member and where he was appointed to the “Committee of the Fritz Schumacher Award” in Hamburg in 2006. He is a member of the “Dramaturgical Society” as well as of the “Foundation Architectural Art” in Berlin.

Uncle Vanya is unique among Chekhov's major plays because it is essentially an extensive reworking of his own play published a decade earlier, The Wood Demon. By elucidating the specific changes Chekhov made during the revision process—these include reducing the cast-list from almost two dozen down to nine, changing the climactic suicide of The Wood Demon into the famous failed homicide of Uncle Vanya, and altering the original happy ending into a more problematic, less final resolution—critics such as Donald Rayfield, Richard Gilman, and Eric Bentley have sought to chart the development of Chekhov's dramaturgical method through the 1890s. Rayfield cites recent scholarship suggesting Chekhov revised The Wood Demon during his trip to the island of Sakhalin, a prison colony in Eastern Russia, in 1891.

Sophie Lewis, writing for The New Inquiry, called it "sharp and entertaining". Charles Mudede of The Stranger liked it, saying "The only thing bad" was the animation usage. Both Benita Blessing on H-Net and Anikó Szûcs, writing for Women & Performance, criticized the animation bits; the former commented that they did not provide any dramaturgical function being mere repetition of what is commented by interviewers, the latter said it occupied space that could be used to provide "in-depth analyses of the private and public topic of sexuality and sexual mores" but instead offered "facile stereotypes that all too often leave one cringing in embarrassment". Szûcs was critical of it, saying "it falls short of its comprehensive promise", exhibits propagandistic and manipulative aspects and lacks any discussion on homosexual relationships.

Since the production of literaturopern possessed the potential to make the function of the opera librettist redundant, the genre was first able to assert itself in those opera cultures in which professional libretto-writing had not been able to develop a centuries-long tradition (Russia, Germany). The first examples of this dramaturgical process can be found in the history of French and Russian music in the second half of the 19th century.Jürgen Maehder: »Salome« von Oscar Wilde und Richard Strauss ─ Die Entstehungsbedingungen der sinfonischen Literaturoper des Fin de siècle, in: Jürgen Kühnel/Ulrich Müller/Sigrid Schmidt (Hrsg.), Richard Strauss, »Salome«: Stofftraditionen, Text und Musik, Müller-Speiser Anif/Salzburg 2013, S. 55–107. Early Russian literaturopern include Alexander Dargomyzhsky’s opera The Stone Guest (after Alexander Pushkin) and Modest Mussorgsky’s opera fragment The Marriage and his Boris Godunov (also after Pushkin).

In the score of Antigonae, six grand pianos and a group of xylophones, which were mostly given only marginal tasks in the traditional orchestra, take on the role that the group of strings had in the orchestration of Viennese classical music. Jürgen Maehder: Die Dramaturgie der Instrumente in den Antikenopern von Carl Orff. In: Thomas Rösch (ed.): Text, Musik, Szene – Das Musiktheater von Carl Orff. Schott, Mainz 2015, pp. 197–229. On the other hand, traditional instruments of the European orchestral tradition – such as flutes, oboes, trumpets and double basses – become entrusted in Antigonae and Oedipus der Tyrann with functions that had been reserved to rare percussion instruments in the orchestra of the 19th century: As special timbres with an almost exotic sound appeal, they appear reserved for the turning points of the work’s dramaturgical structure.

The theoretical orientations of the first ten years of McLaren's research and writing can be traced to his early undergraduate work in Elizabethan drama, theater arts, and from there to his graduate studies in symbolic anthropology, critical ethnography and social semiotics. As a young man, McLaren had always admired the life and work of William Morris author, poet, artist and craftsman, printer and calligrapher, formidable socialist and activist, businessman and private individual. At the time that he enrolled in doctoral studies at the University of Toronto's Ontario Institute for Studies in Education (Institut d'Etudes Pedagogiques de L'Ontario), Victor Turner, the world-renowned symbolic anthropologist, was conducting path breaking transdisciplinary work at the University of Virginia, bringing dramaturgical theory and anthropology into close collaboration, particularly as this applied to the study of ritual. McLaren soon became a scholar of Turner's work.

After auditing a course at the Toronto Semiotics Institute taught by philosopher Michel Foucault, and another by Umberto Eco, McLaren began to develop a transdisciplinary approach to the study of ritual. He found a rich transdisciplinary milieu in which to conduct his studies at Massey College, University of Toronto. Modeled after Balliol College, Oxford University, England, Massey College facilitates interdisciplinary collaboration among high achieving graduate students from various departments on campus. Looking back at his educational experiences at Massey, it is not surprising that the work of performance theorists, political economists, anthropologists, dramaturgical theorists, literary critics, and symbolic interactionists informed the theoretical basis of his first major scholarly publication, Schooling as a Ritual Performance Towards a Political Economy of Educational Symbols and Gestures (first edition, Routledge, 1986; revised editions, 1994, 1997) which was based on his PhD dissertation.

McFarlane lived in Manhattan for many years with his brother David, helping take care of him before his death due to AIDS in 2002. Together with Philip Bashe, he wrote the 1998 book The Complete Bedside Companion: No- Nonsense Advice on Caring for the Seriously Ill, which was based on his personal experiences over more than two decades caring for his brother and other seriously ill friends and family members. According to the dramaturgical information that Kramer passed out after performances of the 2011 revival of his 1985 work The Normal Heart (which was one of the first plays to address the HIV/AIDS crisis), that play's character named "Tommy" was based on McFarlane. Tommy was played by William DeAcutis in the 1985 original production and by Jim Parsons in the 2011 revival and in the 2014 film.

In the broadcasting of election campaigns, journalists intervene in the process of political change when they, for instance, navigate the politician's amount of speech. Generally, journalistic interventionism is most likely to occur in a political communication culture that is media-oriented.Pfetsch 2004, 353 Here, politicians or political spokespersons "have to accept the maxims of media production as their own rules if they are to be in any position at all to communicate their messages".Pfetsch 2004, 353-354 As a consequence, there emerges a tendency towards a "personalization of politics, a preference for political human-touch aspects, and a predilection for visual and (television) dramaturgical infotainment formats".Pfetsch 2004, 359 Frank Esser, professor of International and Comparative Media at the University of Zurich, conducted a research about the length of sound and image bites (short quotations and visual images of politicians on television news) in order to analyze journalistic intervention.

One of the main scenes of the play is the visit of Nero at the oracle of Delphi to take the oracle by Sibylla, priestess of the Oracle, and the reactions of the latter. This work, unlike his first one, the Dithyramb of Rose, is a complete tragedy, in terms of genre and structure: with distinct and complete parts both in the dialogue and chorus parts as well as in the plot and characters. The messages of the time for resistance against the oncoming storm and the pursuit of freedom and human dignity through struggle that the work depicts are portrayed through a dense dramaturgical and finely processed storyline of symbolic relations, influences and elements of ancient drama. A vast number of structures and textual (vocative or expressive) sequences can be found in "Sibylla" all of which can be attributed to ancient tragedy (for instance the way that the landscape of Delphi is depicted is similar to certain tragedies on the same topic).

Using Corporeal Mime as the base of their creative work, the dramaturgical construction of their plays takes the form of a voyage where the characters traverse varied landscapes and lifetimes, some real, some imaginary. The world of the Theatre de l'Ange Fou, this visionary world of contrasting light and darkness, of metamorphosis, is populated by a family of invented archetypes in unknown yet familiar settings. Throughout their various productions, the company explores the infinite possibilities of the interaction between the corporeal score and the spoken text, music and film. Alongside this personal artistic development, in 1992 Wasson and Soum took up the challenge of re-introducing the repertoire of Etienne Decroux to the public with their reconstruction, and performances by the Theatre de l'Ange Fou, of most of his major pieces (including La Meditation, Les Arbres and L'Usine) in The Man Who Preferred to Stand, and more recently, Passage of Man on Earth and Resonance.

After most performances of the 2011 revival of The Normal Heart, Kramer personally passed out a dramaturgical flyer detailing some of the real stories behind the play's characters. Kramer wrote that the character "Bruce" was based on Paul Popham, the president of the GMHC from 1981 until 1985; "Tommy" was based on Rodger McFarlane, who was executive director of GMHC and a founding member of ACT UP and Broadway Cares; and "Emma" was modeled after Dr. Linda Laubenstein, who treated some of the first New York cases of what later became known as AIDS. Like "Ned," Kramer himself helped to found several AIDS-activism groups, including Gay Men's Health Crisis (GMHC) and AIDS Coalition to Unleash Power (ACT UP), and indeed experienced personal conflict with his lawyer brother, Arthur. It has been suggested (though not by Kramer himself) that the model for 'Felix' was John Duka, a New York Times style reporter who died of AIDS-related complications in 1989.

Court Theatre has used the University as a resource in many ways, including through the development of new translations and adaptations of classic texts, receiving dramaturgical assistance from expert faculty, and hosting events related to the theatre's programming throughout the University's campus and the greater Hyde Park area. Court Theatre also provides resources for the University as well, including by exclusively providing numerous internships to University of Chicago students as well as maintaining a number of University affiliates on their Board of Trustees. Court Theatre's upcoming 2017–18 season will consist of five productions: Five Guys Named Moe by Clarke Peters, directed by Ron OJ Parson; The Belle of Amherst by William Luce, directed by Sean Graney; All My Sons by Arthur Miller, directed by Charles Newell; Guess Who's Coming to Dinner by Todd Kreidler (based on the screenplay by William Rose), directed by Marti Lyons; and the Asolo Repertory Theatre/Arena Stage/Pasadena Playhouse Production of The Originalist by John Strand, directed by Molly Smith.

He is remembered as a playwright and for his theoretical formulation of the principles of a radical, popular theatre. The 7:84 Theatre Company was established in 1971 by McGrath, his wife (Elizabeth MacLennan) and her brother (David MacLennan),Ewan Davidson "Cheviot, the Stag and the Black, Black Oil, The (1974)", BFI screenonline and The Cheviot, the Stag, and the Black Black Oil (1973), his best-known play, was created with these principles in mind. It utilizes some of the dramaturgical and theatrical techniques of epic theatre – actors take on multiple roles and frequently slip out of character – of the type associated with the German dramatist Bertolt Brecht, but which McGrath argued have a genealogy that stretches far further back through the history of popular traditions of performance. The title of the play refers to three pivotal periods in the history of class struggle in Scotland: the clearing of the Scottish highlands to make way for grazing land, the subsequent use of this land by the wealthy for shooting, and its current exploitation in the oil market.

The work focuses on the last moments of Digenis Akritas. Sikelianos uses the acritic cycle (frontiersmen tales) for the historical material (i.e. the conditions and some historical figures of the time, such as the Byzantine Emperors Michael III and Basil I) and the image of Digenis, whom he places as leader of a heretic group of paulician warriors, adjusting and transforming the historical material according to his own dramaturgical and ideological objectives (particularly the importance of the hero's tomb and other relevant issues). Mainly due to its second name, this tragedy has been associated with the third part of the lost Promethean trilogy by Aeschylus, Prometheus Unbound, with Digenis being presented by Sikelianos with the same characteristics: a social and cultural fighter - revolutionary for the good of the people – Prometheus, more or less, offers culture to mankind – a hero that links Christ and Prometheus, while there are other scholars’ opinions that consider Hercules top have served as a model, as well as Oedipus (mainly in relation to the issue of the initiation of the hero and his death - as the return to Mother Earth).

Godani developed his career as a choreographer creating original works for international companies such as: Royal Ballet Covent Garden, Bayerisches Staatsballett, Compañía Nacional de Danza, Nederlands Dans Theater, Royal Danish Ballet, Ballet British Columbia, Le Ballet du Capitole de Toulouse, Corpo di ballo del Teatro alla Scala, Royal Ballet of Flanders, Ballet de l’Opera national du Rhin, Finnish National Ballet, Semperoper Ballett, Sydney Dance Company, Israeli Opera Ballet & Suzanne Dellal Centre, Het Nationale Ballet, Aterballetto, Les Ballets de Monte Carlo and Cedar Lake Contemporary Ballet. Godani was appointed as Artistic Director and Choreographer of the Dresden Frankfurt Dance Company beginning with the 2015/2016 season. Godani conceives all stages of work from the initial choreography through to designing the spaces, objects, environments and stage setting where his actions take place, writes text and concepts for his dramaturgical work, styles the image of interpreters conceiving costumes, engineers and develops innovative ways of using lighting, video and projections, and creates/edits music for some of his pieces. Godani formed a team of professionals to collaborate on the development of original ideas applied to all fields that require a creative and innovative concept to reflect the progressive perspective of our contemporary world.

Stage theater of the early 19th century had been based more on spectacle than on depth of plot or character, and these characteristics lent themselves effectively to the format of toy theater. Toward the end of the 19th century, European popular drama had shifted its preference to the trend of Realism, marking a dramaturgical swing toward psychological complexity, character motivation and settings utilizing ordinary three-dimensional scenic elements. This trend in stage theater did not make an easy conversion to its toy counterpart, and with the fanciful dramas of 50 years prior being out of fashion, the toy theaters that remained in print fell into obsolescence. Despite its fall in popularity, toy theater remained in the realm of influential artists who championed its resurgence. In 1884 British author Robert Louis Stevenson wrote an essay in tribute of toy theater’s tiny grandeur entitled “Penny Plain, Twopence Coloured” in which he extolled the virtues of the dramas supplied by Pollock's. Benjamin Pollock's Toy Shop on the Spitalfields Life website - 17 December 2009The Rise and Fall of Toy Theatre - Craftsmanship Magazine - 6 December 2015 Other children’s authors like Lewis Carroll and Hans Christian Andersen also dabbled in toy theater, as did Oscar Wilde.