WASHINGTON Dramaturgically, it's one of the soundest plays I've ever read.
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RAPP It makes it easy when the actor is so dramaturgically inclined.
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She does nothing so dramaturgically crude as have a change of heart, but over time her understanding of the world is complicated by Sydney's.
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The form is scaled large, often with different locations, and it is challenging dramaturgically, requiring integrated action among principals, chorus and dancers — much more challenging than a Handel opera.
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While the adaptation was musically and dramaturgically strong, it was almost a scene-for-scene transcription — a little ironic, given that the original film is about society's inability to break with familiar patterns of behavior.
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"The newly found material includes the lost ending of the film, while other new sequences found reveal an obviously dramaturgically staged parallel narrative," Larissa Bainschab, a press officer at the Austrian Film Archive, told Hyperallergic in an email.
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Close your eyes, and little has changed, dramaturgically speaking, in the forty-eight years between the time that Georgina dreamed her dream and that Celie, a poor, obscure, and blighted black woman, living in the early-twentieth-century South, embraces her own view of life's dreams and realities in "The Color Purple" (at the Bernard B. Jacobs).
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Dramaturgically, the play A New Way to Pay Old Debts contains elements of melodrama, comedy of manners, realism, and social satire, in a distinctive combination.
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For the most part the Latins tried to imitate the Romans dramaturgically. They used a unitary stage in a restricted outdoor setting. Their time scale was limited. There was a single list of dramatic personae.
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This way, the Immanuel Kant's opposition between duty and inclination becomes clear. Luise is very conscious of reality. Wurm is the secretary and confidante of the President. Dramaturgically seen, he is a spineless schemer who would do anything for wealth and prestige.
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Goffman presented impression management dramaturgically, explaining the motivations behind complex human performances within a social setting based on a play metaphor.Dillard et al., 2000 Goffman's work incorporates aspects of a symbolic interactionist perspective, emphasizing a qualitative analysis of the interactive nature of the communication process. Impression management requires the physical presence of others.
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Kevin Thomas of the Los Angeles Times wrote, "Technically, the film is a triumph; dramaturgically, it is somewhat less than that. Its climax is terrifyingly, horrendously spectacular, but the two hours getting there are not as gripping as they might have been."Thomas, Kevin (December 21, 1975). "'Hindenburg' an Airship of Fools".
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Often, Reinvere does entirely without the links of tonality, relying on instrumental and vocal sounds and the sound of narration, closer to noise than to precisely defined pitch. Clearly arranged textures are used according to a classical understanding of polyphony. Time, shaped dramaturgically, enables the listener to develop listening expectations while simultaneously confronting him with the unforeseen.
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Her singing career began in the early twenties of the 20th century. She was a pupil of Lilli Lehmann, the opera singer and singing teacher from Salzburg. Due to her fine and dramaturgically highly developed interpretations of songs by composers such as Mozart, Franz Schubert, Wolf and Pfitzner, she has won numerous prizes in international singing competitions. In 1937 Winterstein-Kambersky was the first woman to sing in front of a darkened audience.
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The Wiener Film is almost always happy, life-affirming and relaxed. Music and song feature prominently, either in the form of orchestral and musical scenes or as interpolated songs by the characters. Humour often arises from misunderstandings, mistaken identity, misadventures and the resultant efforts to restore order, with often farcical consequences. Dramaturgically the Wiener Film generally contains several principal characters and several more subsidiary characters, all of whom recur frequently throughout the film as the action develops.
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In particular, Pavičić praised the acting and football cinematography. However, he also described the film as "dramaturgically unbalanced", suffering from a "simplified story about the Croatian new capitalism". Go, Yellow competed as one of six films screened at the 48th Pula Film Festival in 2001, but it did not win any awards, and ranked last in the viewers' choice poll. The film was not successful at the Croatian box office either, having sold 2,414 tickets in total.
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Baldwin Maxwell argued that the play has a discontinuous nature: the first half, through Act III scene ii, is dramaturgically well-crafted, while the second half is disorganized and loosely put together. Maxwell interpreted this as indicating that the extant text was the telescoped condensation of a two-part original; alternatively, others have suggested that the play is a collaboration between two unequal partners, or a work that was left incomplete by its original creator and finished by another hand.Logan and Smith, pp. 189–193.
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She focuses on the discussion of identity issues through dramaturgically assigning roles that food serves in increasing accessibility of the conversation as a whole. Her writing explores themes that are universal in nature through “constructing different subjectivity” that evokes sympathy regardless of one's identity. Julia Cho was one of the five playwrights whose works were performed as parts of “Korea Diaspora Season” in National Theater Company of Korea in Yongsan-Gu, Seoul. Aubergine returned to the National Theater of Korea on March 6, 2018.
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Hinter Gittern – Der Frauenknast (English: "Behind bars - The Women's Prison", in short: HG or HiGi) was a German television series in the form of a soap opera and told the dramaturgically oversubscribed-life in a prison for women. The series was broadcast from 22 September 1997 until 13 February 2007 at the private broadcaster RTL. The acts played in the fictional prison for women, Reutlitz in Berlin and included lesbian love affairs, drug deals, escape attempts, conflicts with sadistic prison guards, as well as crimes such as murder. RTL decided to cancel the long running drama after 16 seasons and 403 episodes.
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Dramaturgically, The Fair Maid of the West is normally classed as a comedy,Terence P. Logan and Denzell S. Smith, eds., The Popular School: A Survey and Bibliography of Recent Studies in English Renaissance Drama, Lincoln, NE, University of Nebraska Press, 1975; p. 112. rather than any of the other standard classifications; yet it is a comedy of a specific type. Part 1, at least, draws upon what were then current events or contemporary history, and belongs to a group of similar Elizabethan plays; George Peele's The Battle of Alcazar (c. 1588-89) and the anonymous Captain Thomas Stukeley (1596)E.
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In a violent, disastrous setting in which fragments of war news reports continuously run on TV screens, various historic-literary episodes succeed one another, in which mostly anonymous characters become the innocent victims of war and its devastating psychological effects. Occurrences from the Roman antiquity, the Yugoslav Wars, the Franco-Prussian War, and from Japan at the time of its capitulation in World War II criss-cross each other with short flashes of current events, bringing back the past to our present-day awareness. Dramaturgically, the opera is conceived as a sort of TV format, in which various TV presenters introduce and comment on the disparate stories, which overlap each other as parts of a single scenario of public and private violence.
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To remedy the problem and at the same time protect Nicia's honor, all you have to do is meet her secretly with the first street "boy" who will absorb all the deadly poison. Persuaded Nicia, all that remains is to convince Lucrezia, who will never consent given her pious and devoted character. This time also the mother Sostrata and the friar Timothy will intervene, who playing on her Christian devotion - dramaturgically important the biblical quotation of Lot and the daughters - will convince her to "cure". That night Callimaco will disguise himself as a beggar and will be carried by the husband himself into the arms of his wife, who will not be satisfied with this fleeting encounter but will want to reiterate it in the time to come.
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Their special timbres, which possess an almost exotic sound appeal, are only used for special, dramaturgically motivated tasks. The inclusion of numerous non- European percussion instruments that had not previously been used in the orchestra of European art music cannot be interpreted as musical exoticism, especially since the composer hardly uses the new timbres unmixed. Rather, the gathering of instruments from all parts of the world in the orchestra of Orff's last works for the stage serves to substantiate the claim that the setting of the ancient Greek myth should reveal the all-encompassing nature of the Greek myth which appeals to mankind in its entirety. In the history of 20th-century music, Orff's operas on subjects from Greek Antiquity appear as an extraordinarily original development of musical dramaturgy after 1949.
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Like an oratorio or an opera, a choral symphony is a musical work for orchestra, choir and (often) solo voices, although a few have been written for unaccompanied voices. Berlioz, who in 1858 first coined the term when describing his work Roméo et Juliette, explained the distinctive relationship he envisaged between voice and orchestra: > Even though voices are often used, it is neither a concert opera nor a > cantata, but a choral symphony. If there is singing, almost from the > beginning, it is to prepare the listener's mind for the dramatic scenes > whose feelings and passions are to be expressed by the orchestra. It is also > to introduce the choral masses gradually into the musical development, when > their too sudden appearance would have damaged the compositions's unity.... Unlike oratorios or operas, which are generally structured dramaturgically into arias, recitatives and choruses, a choral symphony is structured like a symphony, in movements.
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The published play contains an introduction by Maggie Ivanova entitled The Art of Life: Aesthetic Engagements with the Everyday where she discusses the themes in detail, including 'the impulse in contemporary culture to amplify our experiences, no matter how mundane, in order to heighten their emotional intensity and make them worthy of dramatic replay - whether through personal reminiscences, tweets or Facebook posts'. She describes the antagonist, Chad, as a 'Dostoevskian anti-hero' who 'is increasingly harder to like as the play progresses but we simply cannot dismiss what he has to say'. 320x320px Ivanova frames the relationship between Theo and her unborn daughter Anni as 'hyperreal' resulting from a 'hybrid, multimodal meaning-making relationship between the verbal, the visual and the ambiguous (spiritual, irrational or plain bizarre and inexplicable). A world similar to those we see in comics and manga, which are dramaturgically evoked here, creates a primary reality that serves as a meeting point for separate expressive and experiential planes - Theo and Anni, thought and emotion, word and image, here and elsewhere.
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At its premiere, System Crasher received two stars out of a possible four in the international critical barometer Screen International, thereby achieving 11th place among the 16 Berlinale competition entries while Emin Alper's A Tale of Three Sisters and Nadav Lapid's Synonymes (3 stars each) headed the list. Dalton, Ben: Two films tie for top spot on Screen’s final Berlin jury grid. In: screendaily.com, 15 February 2019 (retrieved 16 February 2019). Oliver Kaever (Spiegel Online) described System Crasher in a brief review as “the opposite of a family-film” and praised the actors’ performances as “magnificent”, especially the female lead Helena Zengel. According to Kaever, “System Crasher is a typical debut film: profuse in the choice of cinematic devices, dramaturgically meandering and too long, but its raw, unpolished energy enlivened the pretty dull opening phase of the Berlinale competition.” Kaever, Oliver: Deutschland, ein Schlachthaus. In: Spiegel Online, 9 February 2019 (retrieved 16 February 2019). Verena Lueken (Frankfurter Allgemeine Zeitung) likewise praised Zengel and described the film as “a surprise”: Fingscheidt had made not a social drama but “body cinema”, and also noted the effective soundtrack.
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