The present project focuses on the study of Enrique III de Castilla, an anonymous historical drama in verse, which was first released in Cadiz in 1820. In a period as complex as the Liberal ...Triennium, the new political system needs to find support among the popular classes to consolidate its hold on power. To achieve this, the great social influence enjoyed by the theatre as an effective means of disseminating ideas becomes essential, thus explaining the creation of numerous dramas with a political theme. Specifically, in this piece, the legend of the diseased king’s mantle is put at the service of liberal ideology, through a defence of constitutional principles by a monarch who manages to defeat the despotic lords of the kingdom who usurp his throne.
El prodigio de Alemania (1634), a historical drama written by Calderón de la Barca,
has been predominantly read as an example of propagandistic literature in the context of the
Thirty Years´ War ...(1618-48). In this article, however, I argue that El prodigio represents the
frailty of the imperial project, which is caused by a) the difficulty of distinguishing between truth
and appearance and b) the limitations of human perspective.
El prodigio de Alemania (1634), drama histórico escrito por Calderón de la Barca, ha
sido predominantemente estudiado como ejemplo de literatura propagandística en el marco de la
Guerra de los Treinta Años (1618–48). En este artículo, en cambio, argumento que El prodigio
representa la fragilidad del proyecto imperial, causada por a) la dificultad de discernir entre
verdad y apariencia y b) las limitaciones de la perspectiva humana
The problem of Old Russian sources’ using in historical dramas by A. N. Ostrovsky has been raised many times in literary studies. However, the works devoted to the study of the changes made in the ...second version of the play “Kozma Zakharyich Minin, Sukhoruk” did not include an analysis of differences in the approach to ancient Russian materials. The article provides the comparative analysis of playwright versions in terms of the use of facts, images, stylistic means dating back to the Russian medieval monuments. The analysis of the texts led to the conclusions that about the reducing the number of historical facts and of direct arrangments of Old Russian texts, therefore, the sequence and the details of the narration decreased in the second version. The monologues of the characters reflecting the religious views of the Middle Ages were removed, so the ideological and psychological motivation of character’s actions became weaker. The love line, nonexistent in the sources, became consistent and complete. The role of some fictional characters associated with the Old Russian tradition has changed. As a result, in the second version the personal destinies of historical and fictional characters came to the fore instead of the epoch-making events of the 17th century. Rearranging of the accents changed the genre of the play: from a “dramatic chronicle” it turned into a historical drama.
This article examines 2018 South Korean historical drama Mr. Sunshine as an example showcasing the impact of global streaming platforms on local television production. As a locally produced show ...targeting the international market and later purchased by Netflix, Mr. Sunshine offers an interesting case study of the local industry’s response to changes brought about by global streaming services. This article analyzes how the creators’ acute awareness of the threats and opportunities posed by the increasingly transnationalizing media industry is reflected in the text of the historical drama set in the time of modernization and the approaching Japanese occupation. It argues that Mr. Sunshine’s visual and narrative construction of early twentieth-century Korea, which emphasizes the unrealized potential of transitional times and Korean people’s agency in shaping their own history, indicates a perceived parallel between the setting of the show and the conditions of its creation.
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According to contemporaries, the play “Boris Godunov” was written by Dostoevsky before he began work on the novel “Poor People.” The manuscript of the play is lost. Some assumptions about its ...composition have been made in the scientific literature, but this article for the first time undertakes a systematic analysis, if possible, of all the alleged sources of the idea, as well as some of its reflections in the writer’s later works. The article examines the situation in Russian historiography and fiction related the coverage of the reign of Boris Godunov and the personality of the tsar himself prior to Dostoevsky’s undertaking of this topic. The key sources for him were the 9 volumes of Karamzin’s “History of the Russian State” and Pushkin’s “Boris Godunov,” which formed the consciousness of the future writer since the times of family readings in his parents’ house. Subsequently, Dostoevsky faced an acute dispute in literature around Karamzin and Pushkin, who declared Godunov guilty of the murder of Tsarevich Dmitry. Their position was supported in the 1830s by the authors of historical dramas V. T. Narezhny, A. S. Khomyakov, and M. E. Lobanov. The historians M. P. Pogodin, N. S. Artsybashev, and A. A. Kraevsky defended Godunov; their point of view was reflected in the dramas of the same Pogodin and G. F. Rosen. F. V. Bulgarin took an ambivalent position in both journalism and prose. Dostoevsky was undoubtedly familiar with Schiller’s printed sketches for the tragedy “Demetrius,” where the figure of Boris Godunov as psychologically complex and ambiguous. The critics of Pushkin’s Boris Godunov N. I. Nadezhdin, N. A. Polevoy, and V. G. Belinsky played a certain role in shaping Dostoevsky’s idea. In “interacting” with them, Dostoevsky obviously developed a new twist in the dramatic plot, which resolved the historians’ dead-end disputes. In his play, which absorbed the dramatic experience of Shakespeare, Racine, Schiller, as well as the historical legends around Alexander I and Napoleon, a version was proposed about Godunov’s indirect guilt in Dmitry’s death and about the hero’s unwavering moral responsibility even for indirect complicity in a crime. This motif was developed in Dostoevsky’s subsequent works, such as “Netochka Nezvanova” (Efimov), “Demons” (Stavrogin), “Brothers Karamazov” (Ivan). It can be stated with a high degree of confidence that the origin of the concept of expanding guilt and responsibility for it occurred in the very first works of the writer — the tragedies “Mary Stuart” and “Boris Godunov.” The author of the article suggests the formation of Dostoevsky’s aesthetics in the context of the development of Russian historical drama.
This paper describes the way in which the magnificence of the figure of Emperor Charles V is shown through the comparison of theatrical pieces from the first and last third of the sixteenth century, ...with special attention to the
(1518) by Bachiller de la Pradilla and the
(1579) by Juan de la Cueva. We will thus see how the royal ceremonial, which was developed at length in the first texts, is simplified and becomes more symbolic in the later ones.
Some of theater’s most powerful works in the past thirty years fall into the category of "verbatim theater," socially engaged performances whose texts rely on word-for-word testimony. Performances ...such as Fires in the Mirror, The Laramie Project, and The Vagina Monologues have at their best demonstrated how to hold hard conversations about explosive subjects in a liberal democracy. But in this moment of what author Ryan Claycomb terms the “rightward lurch” of western democracies, does this idealized space of democratic deliberation remain effective? In the Lurch asks that question in a pointed and self-reflexive way, tracing the history of this branch of documentary theater with particular attention to the political outcomes and stances these performances seem to seek. But this is not just a disinterested history—Claycomb reflects on his own participation in that political fantasy, including earlier scholarly writing that articulated with breathless hopefulness the potential of verbatim theater, and on his own theatrical attendance, imbued with a belief that witnessing this idealized public sphere was a substitute for actual public participation. In the Lurch also recounts the bumpy path towards its completion, two years marked by presidential impeachments, an insurrection, a national reckoning with racism, and a global pandemic. At the heart of the book is a central question: is verbatim theater any longer an effective cultural response to what can look like the possible end of democracy?
With critical fabulation as its methodological starting point, this article analyzes the dramatic techniques used by contemporary Chinese playwright Li Jing to construct the figure of the ...intellectual-as-artist in her 2017 metahistorical drama Qinguo xiju (Comedies from the State of Qin). By locating historical farce as the origin of contemporary Chinese political thought, Li supplants today's politically subservient intellectual with the character of the intellectual-as-comedian. When cast in this new light, Li endows Chinese theatre with a renewed sense of immediacy, namely to rescue everyday Chinese people from moral and spiritual degradation, a task at which contemporary Chinese intellectuals have failed. Andreea Chirita is a Lecturer of Chinese Studies at the University of Bucharest as well as a translator of contemporary Chinese literature into Romanian and English. She specializes in contemporary Chinese theatre, and her most recent article in Modern Chinese Literature and Culture examines the work of Beijing's Paper Tiger Theatre Studio.
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The article is dedicated to the problems of historical drama, one of the ways of interpreting the past. The study is placed in the context of the sociology of culture and the historical memory of ...society, with a focus on the transposition and the symbolical representation of the history of Byzantium and the Second Bulgarian Kingdom (1181-1396) in literature. The subject of the analysis are the works of the Bulgarian poet and playwright Radko Radkov (1940-2009), above all his play Theophano, written in the convention of classical drama in verse and the so-called ritual drama, according to the title of the author, a synthesis of text borrowed from Old Bulgarian Literature, and Byzantine hymnography, inspired visually by the images of the Middle Age Miniatures included in Manassij's Chronicle (Codex Vaticanus Slav II) - Praise of Turnovgrad and In Praise of the Word. The historical theme in the work of Radko Radkov is substantially different from the interpretation of the Bulgarian history of other Bulgarian writers of the second half of the 20th Century, by which the author is opposing the ideological constructs of the official authorities during this period. With-in the discourse of the relations between creator and authorities, attention is paid to some events surrounding the 1300 anniversary of the creation of the Bulgarian state (celebrated in 1981), when, thanks to the benevolence of Lyudmila Zhivkova and the open culture policy that she, as Chairperson of the Committee of Arts and Culture, had introduced, the plays of Radko Radkov were allowed to be staged in the theatres. The playwright has found semiotic and stylistic devices that recreate the classical past of the people, the orthodox Christianity and culture in the universal perspective of the Byzantine Commonwealth, and artistically voice his historiosophic views concerning Bulgarian national history and the Byzantine-Bulgarian cultural community. The paper analyses the tribulations of the performance of Theophano, staged in Bulgaria by the French Director Pierre Della Torre, who sees in the poetic world of Radko Radkov "the monumental force of the masters of French theatre, Racine and Corneille".
Some of theater’s most powerful works in the past thirty years fall into the category of "verbatim theater," socially engaged performances whose texts rely on word-for-word testimony. Performances ...such as Fires in the Mirror, The Laramie Project, and The Vagina Monologues have at their best demonstrated how to hold hard conversations about explosive subjects in a liberal democracy. But in this moment of what author Ryan Claycomb terms the “rightward lurch” of western democracies, does this idealized space of democratic deliberation remain effective? In the Lurch asks that question in a pointed and self-reflexive way, tracing the history of this branch of documentary theater with particular attention to the political outcomes and stances these performances seem to seek. But this is not just a disinterested history—Claycomb reflects on his own participation in that political fantasy, including earlier scholarly writing that articulated with breathless hopefulness the potential of verbatim theater, and on his own theatrical attendance, imbued with a belief that witnessing this idealized public sphere was a substitute for actual public participation. In the Lurch also recounts the bumpy path towards its completion, two years marked by presidential impeachments, an insurrection, a national reckoning with racism, and a global pandemic. At the heart of the book is a central question: is verbatim theater any longer an effective cultural response to what can look like the possible end of democracy?
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