Dramatic Arts

This study examines the postcolonial themes and satirical strategies in Elnathan John's Becoming Nigerian (2019). Using postcolonial theory, the analysis explores how John's satirical guidebook critiques British colonial legacies in contemporary Nigerian society. The study investigates five key areas: hybridity and cultural identity, diaspora identity and global marginalisation, religious syncretism and colonial imposition, class and neocolonial exploitation, and style and narrative techniques in the text. The study finds that John demonstrates how postcolonial societies creatively adapt colonial impositions while maintaining cultural authenticity. His satirical approach reveals contradictions in Nigeria's postcolonial condition, where traditional values coexist with colonial legacies. The study concludes that Becoming Nigerian offers fresh perspectives on postcolonial identity, illustrating how modern Nigerian writers are rethinking postcolonial themes for the 21st century while using satirical discourse as a tool for cultural critique and resistance.

The review emphasizes how the book elucidates the role of interculturalism as a middle path that neither rejects tradition nor Western influence, utilizing plays by Tagore, Soyinka, and Sircar to illustrate the cultural struggles and neo-colonial challenges faced by these nations. By comparing plays from both countries, the book fosters discussions on cultural identity, colonial trauma, and the potential for pluralistic societies amidst postcolonial cultural manipulation. The review applauds the book’s timely relevance and its contribution to intercultural philosophy, theatrical analysis, and postcolonial discourse

This paper examines the interplay of gender, culture, and politics in J.P. Clark's play The Wives Revolt, highlighting how these elements shape character identities and the societal context of colonial Nigeria. The narrative focuses on women who rise against oppressive colonial and patriarchal systems, illustrating their struggle to negotiate identities within societal constraints. Through critical analysis of dialogues and actions, the study shows how the women's revolt represents resistance to both economic exploitation and gender injustices. Clark's portrayal emphasizes the agency of these women, showcasing their complexity as they navigate roles as wives, mothers, and activists. Situating the play within postcolonial studies, the paper discusses how cultural identity is contested against colonial legacies, and examines the implications of this revolt for contemporary gender and political discourse. Ultimately, The Wives Revolt serves as a commentary on ongoing struggles for identity and empowerment in a postcolonial context, encouraging reflection on the intersections of gender, culture, and politics.

Dramatik yazarlık eğitimine yönelik talep, tüm dünyada olduğu gibi, ülkemizde de her geçen gün artmakta; akademik eğitim almış yazar sayısı hızla çoğalmaktadır. Fakat diğer taraftan, akademik literatürde, çağdaş tiyatromuzla ilgili olarak, yazarından yönetmenine, oyuncusundan seyircisine, çalışma yapılmasına karşın, eğitim tarafı zayıf kalmış; özellikle de dramatik yazarlık eğitimi ihmal edilmiştir. Bu çalışma ise şu an yetişmekte olan dramatik yazarlara odaklanmakta ve bu bağlamda Drama Yazarlığı ve Dramaturji Bölümü öğrencilerinin dramatik yazarlık yönelimlerini anlamayı amaçlamaktadır. Bu bağlamda, Kocaeli Üniversitesi Sahne Sanatları Bölümü Drama Yazarlığı ve Dramaturji Ana Sanat Dalı örneklem olarak seçilmiştir. Araştırma, öğrencilerin temel yönelimleri, dramaturjik yönelimleri, mesleki ve ticari yönelimleri, etik ve iradi yönelimleri, reji ve teknoloji yönelimleri olmak üzere beş bölümden oluşmaktadır. Söz konusu araştırmada anket yöntemine başvurulmuş; kapalı uçlu soru tekniği ve Likert ölçeği bazlı maddelerle karma yapı içinde tasarlanmıştır. Elde edilen veriler, sayısal kodlara dönüştürülerek yüzdelik dilimlere ulaşılmış ve aritmetik ortalama ile veri analizleri gerçekleştirilmiştir.

Daniela Mattolini, psicóloga y Presidenta de la Asociación de Dramaterapia Argentina, nos lleva por un relato que pivotea constantemente de la experiencia a la conceptualización, ofreciéndonos citas y bibliografías que nos obliga a seguir visitando y preguntándonos por la Dramaterapia. Un interrogante que compartimos para su escrito fue el funcionamiento de la pareja profesional médica y la de un teatrista de lo que surge este texto: Una pareja terapéutica, una pareja pedagógica y una pareja dramaterapéutica son, al fin y al cabo una pareja: aquello que formamos para no estar solxs, para llenar necesidades de conexión, protección y como algo gratificante para las dos partes.

We have decided to follow in our work the pragmatical aspects of argumentative connectors in the dramatical modern texts. Unlike narrative texts, the show offers scenes of real communication, with speakers who confront each other. Certainly the other types of discourse may also have this special feature, but in the dramatic literature, the argumentative strategies are more visible, the dramatic work offers scenes of true communication, with speakerswho do not cease to disagree and confront each other. Two of the most representative works of Constantin Cheianu In the container and Volodea, Volodea… constituted our object of study. In this way, we present different relevant examples to illustrate the functioning of the connectors, which value and significance represented a challenge by its interpretation. The argumentative text is a communication centered on a conative function. Its aim is to convince the listener on the validity of the points of view held by the author. In an argumentative text, the author defends a thesis by using arguments that can be illustrated with examples. The pragmatic connectors are not constituted in "cores of meaning", but they direct the speech in the direction intended by the speaker, offering viable marks of deciphering the meanings. We refer to some famous connectors (but, because of, so) studied closely by pragmatics. Even if, from pragmatic point of view, the connectors'properties or values are evident (argumentative, counter-argumentative, conclusive etc.), their interpretation in dramatic work will be different from aspeech to another, according to the semantic substrates of the dramatic text.

Del 15 al 19 de abril de 2024, en la Universidad de Liubliana, en el marco del proyecto Erasmus+ «Literature in praxis: Professional challenges of reading, translating and editing in digital age», tuvo lugar la Escuela de primavera Litprax, centrada en el teatro en español del siglo XXI, en la que se creó un espacio polifónico que reunió voces de expertos de diferentes ámbitos. Las actividades culminaron con un encuentro en vivo con Juan Mayorga y la entrevista con el dramaturgo realizada por Daniel Vázquez Touriño.

One of Wole Soyinka’s memoirs, ‘You must set forth at dawn’, in which he states that ‘the road and I thus became partners in the quest for an extended self-discovery’ (p.50), appears to mould a critical collection of history, politics, and culture in the collective ongoing post-colonial discourses. Possibly, different post-independence realities such as corruption and banditry facing various African nations have also made it incumbent on authors such as Wole Soyinka to use their lives’ stories for purposes such as agitations, activism and protests other than the conventional focus of autobiographical works. It is in the light of the above that this paper critically analyses Soyinka’s construction of a ‘new identity’ despite the challenges that impact such desire in a post-colonial African society. The paper argues that the agony of colonialism, the failure of ‘post-independence leaderships’, and the ‘lack of effectiveness in modern administrations’-all of which Soyinka demonstrates in his autobiographical work You Must Set Forth at Dawn-are among the major determinants of how a public life is represented in a post-colonial setting. Thus, by closely examining the memoir, the paper offers a critical perspective on Soyinka’s efforts to construct and deconstruct such realities that go/move beyond ordinary personal narratives. This is especially true given that Soyinka’s ongoing commentary on almost every aspect of or occurrence in his environment, no matter how close or distant, is almost, if not completely, habitually protestant.

One of Wole Soyinka's memoirs, 'You must set forth at dawn', in which he states that 'the road and I thus became partners in the quest for an extended self-discovery' (p.50), appears to mould a critical collection of history, politics, and culture in the collective ongoing post-colonial discourses. Possibly, different post-independence realities such as corruption and banditry facing various African nations have also made it incumbent on authors such as Wole Soyinka to use their lives' stories for purposes such as agitations, activism and protests other than the conventional focus of autobiographical works. It is in the light of the above that this paper critically analyses Soyinka's construction of a 'new identity' despite the challenges that impact such desire in a postcolonial African society. The paper argues that the agony of colonialism, the failure of 'post-independence leaderships', and the 'lack of effectiveness in modern administrations'-all of which Soyinka demonstrates in his autobiographical work You Must Set Forth at Dawn-are among the major determinants of how a public life is represented in a post-colonial setting. Thus, by closely examining the memoir, the paper offers a critical perspective on Soyinka's efforts to construct and deconstruct such realities that go/move beyond ordinary personal narratives. This is especially true given that Soyinka's ongoing commentary on almost every aspect of or occurrence in his environment, no matter how close or distant, is almost, if not completely, habitually protestant.

This paper introduces the concept of 'butification' to critically examine the portrayal of disability in African drama. Building on existing scholarship in disability studies, particularly the works of Tom Shakespeare, Ludmilla Jordanova, and Robert Murphy, it highlights how African dramatic literature perpetuates reductive and dehumanising depictions of disabled individuals. These portrayals often frame disability as an anomaly or burden, focusing on what disabled individuals lack or how their conditions must be overcome for societal healing or order. It analyses key African plays such as Wole Soyinka's Swamp Dwellers, The Strong Breed and Mad Men and Specialists, Femi Osofisan's Morountodun and Women of Owu, Ola Rotimi's The Gods Are Not to Blame and Hopes of the Living Dead, and finds a recurring pattern where disabled characters are portrayed as sacrificial or marginalised "others." To address this, the paper proposes a shift from 'butification' to 'nowification,' advocating for representations that highlight the complexity, agency, and autonomy of disabled individuals. 'Nowification' reimagines disabled characters not as burdens, but as integral parts of human diversity, possessing dynamic identities and contributing to societal narratives. This theoretical shift aims to bridge the gap in African literary and theatrical traditions by promoting more ethical and inclusive portrayals that reflect the lived realities of people with disabilities. Through this lens, the paper advocates for a paradigm shift in African drama, promoting nuanced and empowering depictions that can reshape cultural understandings of disability and enrich the broader discourse on disability representation.

În lumea noastră brutală, adevărul nu există. Minciunile se revarsă până când devin realitate. Dar sunt hotărâtă să aflu ce s-a întâmplat cu familia mea. O problemă, însă. Monstrul meu, Kirill. Noi nu mai suntem la fel. A devenit greu să avem încredere unii în alții. Dar este de-a dreptul imposibil să stai departe unul de celălalt. Este nebunesc, haotic și greșit, dar suntem noi. Și s-ar putea să trebuiască să plătim pentru asta cu sânge.

In the context of postcolonial Nigerian theatre, Oba Mosebolatan by Kehinde Akano offers a powerful dramatization of conflict, identity, and cultural politics. This paper explores how the playwright critiques elite authoritarianism and reimagines communal justice through indigenous Yoruba aesthetics such as chants, ritual performances, and masquerades. Using Marxist literary theory and cultural theory as analytical lenses, the study examines how Akano stages power, resistance, and reconciliation, offering a unique model of governance rooted in ancestral ethics and performative tradition. The analysis reveals that conflict resolution in Akano's drama is not only ideological but symbolic and restorative-underscoring the value of indigenous cultural frameworks in addressing contemporary African socio-political crises.

puede encontrarse una profunda reflexión sobre las consecuencias ético-políticas de la experiencia de Auschwitz y el exterminio de los judíos en aquel campo. Antes de comentar algunos aspectos del libro, quisiera resaltar dos cuestiones de esta reseña. A mi modo de ver, y anticipándome a la pregunta del lector de una revista de

This study investigates the complex interactions between audience engagements and social media reviews by closely examining selected Twitter comments about two distinct films, "Elesin Oba" and "Sista." Using a qualitative research methodology, the study clarifies the complex processes by which user-generated content on Twitter influences audience interactions and perceptions. Through an examination of the prevailing themes, sentiments, and patterns that are apparent in the comments, the study offers significant insights into the implications of social media reviews on how films are received and interpreted.

The recognition of Twitter's effectiveness as a powerful platform for the expression of user opinions and discussions serves as the driving force behind this study. Through a thorough analysis of the material derived from these movies, the study elucidates the various functions that social media reviews perform in shaping viewer participation. The findings of this study contribute to the understanding of the current dynamics that define audience-film interactions and provide filmmakers and cultural producers with useful information as they endeavor to successfully traverse the digital landscape. Essentially, this research adds to the growing body of work about the mutually beneficial relationship between audience interactions and social media reviews in the context of film discourse.

Ideologies are the fundamental beliefs of a group and her members (van Dijk 2006). Existing studies on Soyinka's Death and the King's Horseman have concentrated on the musical, linguistic, literary, translation, styles and strategies, and pragmatic perspectives. There exists a dearth of research on ideologies projected in the play. This study thus, investigates the ideologies projected in the text. The study adopted an aspect of Pragmatic Act Theory by Jacob Mey and Norman Fairclough's socio-semantic approach to critical discourse analysis (CDA) to reflect ideologies in Soyinka's Death and the King's Horseman. Excerpts were randomly selected from the text using insights from the theories. The text was selected because of its reflection of the Yoruba culture and belief system. Seven ideologies were identified; they include the radicalist, the nationalist, the superiority, the religious, the colonial ideologies, the ideology of transmigration and conservatism. It was recovered through the textual aspect of Mey's Pragmatic Act Theory as linguistic tools to deduce the ideologies. Norman Fairclough's socio-semantic approach to CDA was used to establish the relationship between the text, interactions in it and the ideologies projected. The nationalist, radicalist, superiority, feminist, religious, colonial ideologies and conservatism were recovered in the text alongside the cultural ideology; the ideology of transmigration. They were recovered through the linguistic tools of inference (INF), reference (REF), metaphor (MPH), shared situational knowledge (SSK) and voice (VCE). The text reflects the cultural ideology of the Yoruba people. The findings reveal that ideologies are projected in our culture particularly the Yoruba culture and this can be expressed through language.

In losing two pillars of the LMDA community, Lee Devin and Elinor Fuchs, this last year, it is time to pause and reflect on the legacies of members of the field that shaped the organization and the growth of the profession. Geoff Proehl writes a poignant memorial for Lee Devinteacher, dramaturg, performer. His essay addresses his leadership, impact on the field, their friendship, and his imprint on the legacy of dramaturgy. Amy Holzapfel invites us to reflect on the life and legacy of Elinor Fuchs in her essay Views from the Air: A Visit to the Dramaturgical Planet of Elinor Fuchs beginning with a nod to the immense popularity of "E.F.'s Visit to a Small Planet: Some Questions to Ask a Play," an essay considered required reading for aspiring dramaturgs, but as Holzapfel points out, has circulated continuously in professional settings since its debut in the early 1990s. Her essay also reminds us that Fuchs's contributions to the field of dramatic criticism are considerable. A generative writer, she published numerous articles and reviews that stimulated lively conversations and intellectual debate, and her books The Death of Character: Perspectives on Theater after Modernism and Land/Scape/Theater co-edited with Una Chaudhuri are widely cited by theorists and practitioners. Mark Bly recently sat down with dramaturg/playwright, and a former president of LMDA, David Copelin, to discuss some key moments from a career that has shaped the field and contributed to several historic productions in the United States and Canada. In reading Copelin's perspectives on the trajectory of his career, it is fascinating to consider how so many learnings within the profession are realized through participating and watching experimentation and risk-taking within rehearsal rooms. He and Bly offer seasoned advice for honing one's craft through keen observation and artistic collaboration. Sean F. Edgecomb's "Unformed Beings in Flight: Feminist/ Queer Hope in Dramaturgical Re-imaginings of The Salem Witch Trials" begins with family legacies and the profound impact of genealogical discoveries. Edgecomb recounts learning of his ancestral lineage to "Mary Eastey," sister of Rebecca Nurse, "executed by hanging as a witch, Salem, Mass." The personal revelation makes for a fascinating point of entry for reconsidering the legacy of Arthur Miller's The Crucible (1953) and the dramatic conceptualizations that have followed. Through a feminist/queer lens, Edgecomb analyzes the liberatory dramaturgy of Kimberly Belflower's John Proctor is the Villian and Talene Monahon's The Good John Proctor. This is an issue that reflects on the past, as well as the contributions and legacies of leaders who laid the groundwork for our contemporary field today.

In 2024, Professor Joel B. Babalola's scholarly impact was marked by a unique blend of visionary thought, indigenous wisdom, and global relevance. Through research articles, keynote addresses, and editorial stewardship, he redefined pathways for educational leadership, policy innovation, and the decolonization of knowledge systems. His work reflects a deep commitment to empowering African institutions and communities by harnessing both traditional philosophies and contemporary global practices. These ten contributions demonstrate a profound legacy of thought leadership, capable of shaping discourse, policy, and practice across the continent and beyond.

Tamil cinema has long employed powerful visual metaphors and symbolic imagery to enhance storytelling, convey deeper meanings, and challenge conventional narratives. This study explores the significance of three key metaphors eagles, sunrises, and the duality of colors in shaping cinematic themes of fate, transformation, and morality. Analyzing scenes from Sathuranga Vettai (2014) and Vikram Vedha (2017), this paper examines how the eagle, often associated with Garuda in Hindu mythology, serves as a symbol of divine intervention and transcendence. Similarly, the sunrise in Sathuranga Vettai represents renewal, prosperity, and moral awakening, reinforcing themes of redemption and spiritual evolution. The contrast between white and black in Vikram Vedha subverts traditional notions of good and evil, portraying a morally complex world where righteousness and corruption are not absolute but interwoven. This analysis is grounded in key film theories that explain the power of visual storytelling in cinema. Sergei Eisenstein's montage theory is relevant in how symbolic imagery such as the eagle soaring above or the sun rising creates meaning through juxtaposition, shaping audience perception beyond mere representation. Additionally, Roland Barthes' semiotic theory highlights how these metaphors function as cultural codes, embedding deeper philosophical and mythological meanings into the narrative. The study also draws from auteur theory, examining how Tamil filmmakers use recurring motifs and visual language to communicate complex themes, much like international auteurs such as Akira Kurosawa or Andrei Tarkovsky. Furthermore, the interplay of light and dark in Vikram Vedha aligns with binary opposition theory from structuralism, where the tension between white and black clothing challenges conventional moral binaries.

The Theatre of Femi Osofisan: Marxism. Mythologies. Mimesis. evaluates critical perspectives on the dramaturgy of Osofisan and concludes by establishing an overarching theory for understanding and performing his plays.  Ilori focuses our attention on the ascendant elements of Osofisan’s symbolic-aesthetic world, his politics and polemics and the constant presence of African oral arts in his plays. Ilori characterises Osofisan’s theatre as a unique popular theatre whose seams and annals provide such performance aesthetics as are familiar of Yoruba travelling theatre, on the one hand and representative of the best literary traditions, on the other. Using the tools of Marxism, mythologies and mimesis, Ilori drills into Osofisan’s postcolonial discourse, his iconoclasm and mythmaking.

اریکا فیشرلیشته در مقاله حاضر، برای تعریف مفهوم حضور در صحنه تئاتر، دو جنبه اصلی را برجسته می‌کند: نخست، به پدیده حضور به‌عنوان ظهور در «هم‌حضوری جسمانی» میان بازیگران و تماشاگران می‌پردازد. بر همین اساس، حضور بازیگران در فیلم یا تأثیر هر نوع حضور رسانه‌ای دیگر را در نظر نمی‌گیرد. دوم، به خود صحنه توجه می‌کند و این پرسش را پیش می‌کشد که آیا باید حضور را به بازیگر نسبت داد، به بدن پدیداری او، به در جهان بودن بدنی او یا به شخصیت نمایشی که بازیگر بازنمایی می‌کند، یعنی به بدن نشانه‌ای او. فیشرلیشته با ارجاع به هلموت پلسنر انسان‌ها را به‌مثابه بدن-سوژه درنظر می‌گیرد. بدن‌-سوژه، یعنی بدنِ پدیداری و بدن-ابژه، یعنی بدنِ نشانه‌ای که همان بازیگر و شخصیت نمایشی بازنمایی‌شده باشند، پیوندی تنگاتنگ دارند. بر همین اساس، کدامیک از این دو بدن به‌مثابه امر حاضر ظاهر و درک می‌شود؟ فیشرلیشته با در نظر گرفتن این دو جنبه، سه مفهوم مختلف از حضور را متمایز و تعریف می‌کند: مفهومی ضعیف و مفهومی قوی و مفهومی رادیکال از حضور.

Article type: Research Article This paper aims to analyze the personality of the main character of the novel Pedar-e aan Digari (Father of the Other One) by Parinoush Saniee, using the Neo-Freudian psychoanalytic theory of Karen Horney, especially her theory of Neurotic needs and personality types. Horney emphasized on the significance of the role of culture, environment and family on the development of personality. Analytic reading of those literary works that found their narrative on the basis of representing people's healthy/unhealthy personality development, through narrating the childhood and youth events, can and may be of interest to interdisciplinary scholars. Horney has introduced three trends that arise from different needs which are; a) movement towards others, b) movement against others, and c) movement away from others and lead to three personalities, or character styles (i.e., compliant, aggressive, and detached). Integrating qualitative deductive content analysis, data and multiple examples in the text, which reveal how the main character of the novel responds to his neurotic needs in his childhood, have been gathered and, then, analyzed. Furthermore, how he chooses the trend of moving away from others and becomes a detached person in his adulthood has also been addressed.

As organizers of a community film club at the Department of Media and Communication (ELTE University, Hungary) in the past eleven years we have been presenting theatrical dramas in our film program. How is it possible, you may ask, to share theatrical experience in a film club? To answer this question, I need to describe the work of Roma Visual Lab, its mission and its artistically and scientifically diverse agenda, its collaboration with different theatrical projects in Hungary, and then its involvement with the Roma Heroes project, launched by the Independent Theatre in 2018. The latter collaboration resulted in a university course centered around four Roma Heroes monodramas. At the end of my article I explain our drama interpretation, as it is embedded in a learning process.

Fassbinder à Saint-Denis, Molière au Français : Pour la jeune metteuse en scène Julie Deliquet, la fabrique d'un collectif égalitaire crée le lien entre ces deux spectacles servis par l'hyperactualité du jeu. Depuis mars 2020, Julie Deliquet est directrice du Théâtre Gérard Philipe, Centre dramatique national de Saint-Denis, un théâtre dont elle était précédemment artiste associée avec le collectif In Vitro qu'elle a créé 2009. En septembre 2021, elle a signé sa première création pour le TGP en tant que directrice avec l'adaptation de Huit heures ne font pas un jour de Rainer Werner Fassbinder et, en juillet 2022, y a mis en scène, avec Lorraine de Sagazan, Fille(s) de de Leïla Anis. En juin 2022, elle créait également avec la Troupe de la Comédie-Française le spectacle Jean-Baptiste, Madeleine, Armande et les autres… d'après Molière. Julie Deliquet nous reçoit dans le foyer du Théâtre Gérard Philipe pour échanger sur ses deux dernières mises en scène et celle qu'elle prépare à partir du film documentaire Welfare de Frederick Wiseman. La Vie des idées : Vous êtes directrice du Théâtre Gérard Philipe où vous avez adapté la série télé de Fassbinder Huit heures ne font pas un jour, et vous venez de mettre en scène Jean-Baptiste, Madeleine, Armande et les autres... à la Comédie-Française. Sur les deux scènes, on retrouve la même centralité du collectif, la même

se celebra todos los años durante los últimos días del mes de septiembre en Nitra, una ciudad eslovaca situada a unos cien kilómetros al este de Bratislava. El programa se confecciona con propuestas propias del país y con otras del resto de Europa, y con la intención de ofrecer a los espectadores un estado de la cuestión de las nuevas vías del teatro europeo tanto en lo referente a nuevos autores como a directores que realizan propuestas que conllevan cierto riesgo y un carácter experimentador. Los once espectáculos que conformaban la última propuesta han servido para confirmar algunas intuiciones: de una parte, la aparición de nuevos autores, alemanes y de países del Este, con obras que intentan tomar el pulso a la sociedad actual; de otra, la evolución de algunos directores de escena de países del Este, que abandonan el anquilosamiento de los métodos tradicionales. En la primera dirección nombres de autores, escenificados en Nitra, como los alemanes Roland Schimmelpfennig o Dea Loher, el ruso Ivan Vyrypaev o el polaco IngmarVillqist (pseudónimo de Jaroslaw Swierszcz), empiezan a significar en el panorama internacional. A éstos y a otros nombres emergentes, y casi desconocidos en España, les prestaré atención en otra entrega. Por otra parte, interesa seguir la trayectoria de algunos jóvenes directores de países del Este, con una edad media comprendida entre los treinta y los cuarenta años, que poseen una sólida formación teatral y que han evolucionado desde un teatro psicológico hacia otro que, partiendo de esa base interpretativa, busca el juego escénico en la relectura de textos clásicos, sobre los que realizan un atractivo trabajo de creación. En los últimos años se han conocido en Europa occidental algunos montajes de directores como el lituano Koursunovas, el polaco Warlikowski, entre otros, a los que acaso el éxito en festivales les ha arrastrado a una repetición de puestas en escena cliché y rutinarias; sin embargo,junto a éstos, otros prosiguen una línea más rigurosa y de ellos cabe esperar importantes aportaciones a tenor de algunas propuestas. En Nitra, presentaron sus montajes el húngaro Árpád Schilling (Lo gaviota) y el rumano Radu Afrim (Tres hermanos), que comentaré en las líneas que siguen; junto a éstos merece destacarse la puesta en escena del alemán Dimiter Gotscheff (Combate de negros y de perros) con la compañía de la Volksbünhe de Berlín, uno de los teatros donde se realizan estimulantes espectáculos en este comienzo de siglo.

Contents include: Dramaturgical Debris, LMDA Conference 2004 Life, Liberty, and the Pursuit of Happiness, The Production Notebooks Edited by Mark Bly: A Conversation between Danielle Mages Amato and D.J. Hopkins, Interviews with Past LMDA Presidents Alexis Greene and David Copelin, and LMDA Regional Updates Issue editors: D.J. Hopkins, Shelley Orr, Megan Monaghan, Madeleine Oldhamhttps://soundideas.pugetsound.edu/lmdareview/1030/thumbnail.jp

This paper combines cultural and anthropological perspectives, focusing on the affinity between the concepts of 'collective consciousness' (Durkheim) and 'collective unconcsciousness' (Jung). It argues that films are the dreams of charismatic auteur directors, who project their prophetic vision to a wider audience, in the Celluloid Church. These mechanically reproduced visions are based on eternal myths and archetypes, which symbolically reflect upon the contemporary industry/society that produces them. In this context, the paper focuses on film depictions of Billy the Kid as an archetype of the Self, with visual references to Jesus' Crucifixion and Lamentation, in order to illustrate the “spiritual” turn inwards Christianity as expressed in the collective consciousness of American culture, from the anti-communist 1950s, and through the spirituality of the 1960s and 1970s to the recent rise of Evangelical Christianity.

Sažetak: U prvim godinama nakon II. svjetskog rata, gostovanja jugoslavenskih opernih kuća u Puli bila su takoreći stvar od državnog interesa. Žiteljima najvećega grada istarskog poluotoka koji su imali prilike za vladavine fašizma posjećivati operne predstave u kojima ...

Necil Kâzım Akses (1908-1999), Türk müziğinde modernist yaklaşımları uygulayan değerli bestecilerden biri olarak, eserlerinde, geleneksel müzik anlayışını Batı müziği teknikleriyle bir araya getirmiştir. Akses’in müzikal dili, özellikle armonik yapılarında yenilikçi bir tavır sergileyen ve çoğunlukla tonalitenin sınırlarını genişleten bir yaklaşıma sahiptir. Bu bağlamda; aynı anda birden fazla tonal merkezin kullanılması anlamına gelen ve dinleyiciye gerilim, çatışma gibi çok boyutlu müzikal deneyim sunan “politonalite”, Akses’in eserlerinde sıklıkla karşılaşılan önemli bir teknik olarak öne çıkmaktadır. Akses’in Allegro Feroce (1931) başlıklı eseri, bu yenilikçi yaklaşımın erken dönem güçlü bir örneğidir. Eserde; “salkım akor” ve “çoklu eksen kullanımı” ile “üçlü aralık serimi” gibi teknikler yoluyla politonalitenin dramatik etkileri ustalıkla işlenmiştir. Farklı olduğu derecede belli belirsiz tonal merkezlerin eş zamanlı olarak sergilenmesi dolayısıyla atonaliteden ziyade politonalite kavramına yakın konumlanan yapıtta; yaratılan gerilim, müzikal anlatımı derinleştirirken dinamik ve enerjik bir atmosferi de beraberinde getirmektedir. Akses’in Allegro Feroce’de tercih ettiği bu teknikler, eserin yalnızca armonik açıdan zenginleşmesini sağlamakla kalmamakta, “feroce” (vahşice) karakter ifadesinin gereği olan dramatik atmosferin inşasında da önemli rol oynamaktadır.

THE CONSTRUCTION OF DRAMATIC EXPRESSION IN MUSIC THROUGH POLYTONALITY: AKSES, ALLEGRO FEROCE

ABSTRACT
Necil Kazım Akses (1908-1999), as one of the prominent composers applying modernist approaches in Turkish music, brought together traditional musical understanding with Western music techniques in his works. Akses’ musical language displays an innovative attitude, particularly in its harmonic structures, and often pushes the boundaries of tonality. In this context, “polytonality,” which involves the simultaneous use of multiple tonal zones and offers the listener a multidimensional musical experience such as tension and conflict, stands out as an essential technique frequently encountered in Akses’ works. Akses’ piece Allegro Feroce (1931) is an early example of this innovative approach. In this work, the dramatic effects of polytonality are skillfully processed through techniques such as “cluster chord,” “polytonality,” and the “series of triadic intervals.” Due to the simultaneous presentation of vague tonal centers to varying degrees, the piece leans more toward the concept of polytonality rather than atonality, and the created tension deepens the musical narrative while bringing along a dynamic and energetic atmosphere. The techniques Akses chooses in Allegro Feroce enrich the work harmonically and play a significant role in constructing the dramatic atmosphere required by the “feroce” (fierce) character expression.

Contents include: Editor\u27s Page: A Note from New LMDA President, Brian Quirt; Think Dramaturgically, Act Locally! A Conference Overview; I Was Mugged at My First LMDA Conference; First-Timer Fragments; Conference Photos; Introducing the Lessing (and Joe and Michael); A Message Faxed from Romania; Acceptance Speech, Michael Lupu; Producing The Belle\u27s Stratagem; Dramaturging Justice: The Exonerated Project at the Alley Theatre; Past President Liz Engeleman: Some Appreciations; The Toronto Mini-Conference (reprinted from the LMDA Canada newsletter); Gateway to the Americas, The LMDA Delegation, A Report from Mexico; Imag[in]ing Poverty: Creative Critical Dramaturgy for Suzan-Lori Parks\u27s In the Blood; Hester, La Negrita in Iowa City, Staging Spells and Homelessness in Suzan-Lori Parks\u27s In the Blood; The Future of Theatre is...(a creative contest); Seventh Annual Call for LMDA Residency Proposals. Issue editors: D.J. Hopkins, Madeleine Oldham, Carlenne Lacostahttps://sound...

Our Husband Has Gone Mad Again" is a comedic play by Nigerian playwright Ola Rotimi. The play is set in post-independence Nigeria and revolves around the character Lejoka-Brown, a former military officer who decides to enter politics. The plot humorously explores themes of cultural identity, polygamy, and the clash between tradition and modernity. Lejoka-Brown, having left the army, attempts to navigate the political landscape of Nigeria. He is married to three women, each representing different aspects of Nigerian society. Sikira, his first wife, is a traditional woman who is content with her role. Liza, his second wife, is an educated and modern woman who has just returned from the United States, bringing with her Western ideals and a desire for change. The third wife, Mama Rashida, is more of a symbol of Lejoka-Brown's past and traditional obligations. The play begins with Liza's return to Nigeria, which disrupts the household's dynamics. Her modern views clash with Sikira's traditional beliefs, leading to comedic situations and misunderstandings. Lejoka-Brown's political ambitions are portrayed as chaotic and misguided, reflecting the broader political instability of the time. His attempts to balance his political career with his domestic life create a series of humorous events that highlight the absurdities of both.

is a notable Nigerian playwright, author, and educator, renowned for his contributions to African literature and drama. Born in Nigeria, Ogbeche has carved a niche for himself in the literary world with his engaging storytelling and insightful exploration of socio-political themes. His works often reflect the complexities of Nigerian society, addressing issues such as corruption, governance, and the human condition. Ogbeche's most famous work, "Harvest of Corruption," is a play that has been widely studied in schools across Nigeria and beyond. The play is a scathing critique of corruption in government and its detrimental effects on society. Through vivid characters and a compelling narrative, Ogbeche exposes the moral decay and systemic failures that plague many African nations. His ability to weave humor and satire into serious subjects makes his work both entertaining and thought-provoking. In addition to his literary achievements, Ogbeche is also an educator who has dedicated much of his career to teaching and inspiring young minds. His commitment to education is evident in his efforts to promote literature and drama as tools for social change. By engaging students with relevant and relatable content, Ogbeche encourages critical thinking and a deeper understanding of the world around them. Ogbeche's impact on African literature is significant, as he continues to influence new generations of writers and readers. His work not only entertains but also challenges audiences to reflect on their values and the society in which they live. For those interested in exploring the intersections of literature, politics, and culture, Frank Ogodo Ogbeche's writings offer a rich and rewarding experience. Ola Rotimi, born Emmanuel Gladstone Olawale Rotimi on April 13, 1938, in Sapele, Nigeria, was a distinguished playwright, director, and scholar, celebrated for his significant contributions to Nigerian and African theater. His works are known for their rich blend of traditional African themes and Western literary forms, reflecting the complexities of post-colonial African identity. Rotimi was born into a family that valued education and cultural heritage. His father was a Yoruba steamship clerk, and his mother was an Ijaw drama enthusiast, which exposed him to a diverse cultural background from an early age. This multicultural upbringing played a crucial role in shaping his artistic vision and narrative style. He pursued his higher education in the United States, earning a Bachelor of Arts degree from Boston University and a Master of Fine Arts from Yale School of Drama. During his time abroad, Rotimi was influenced by Western theatrical traditions, which he later fused with African storytelling techniques to create his unique style.

Intermedijalna istraživanja književnosti i glazbe posljednjih su godina naglo porasla u skladu s uznapredovalim poststrukturalistickim umjetnickim praksama i interdisciplinarnim znanstvenim pristupima. Teorije o intermedijalnosti iznose tri osnovna oblika fuzije glazbe i književnosti, a to su: glazba u književnosti, književnost u glazbi, glazba i književnost. Najosjetljivija je monomedijalna varijanta - glazba u književnosti - koja pretpostavlja fikcionalno hipostaziranje teksta u njegovoj reprezentativnosti. Premda granice medija objektivno uvijek postoje, određuju suodnose i izravno utjecu na dobivene efekte, intermedijalni produkti su u pravilu uvijek zanimljivi za povijest književnosti i estetike napose kao eksplicitni primjeri simptoma transgresije tradicionalnih granica. Ovaj rad se bavi intermedijalnom analizom monomedijalnog slucaja na primjeru romana Berenikina kosa Nedjeljka Fabrija ciji podnaslov - Familienfuge - upucuje na glazbene kvalitete samoga djela. Rezultati ispit...

Günlük hayatta sık sık trajik olaylar, trajik insanlar, trajik ölümlerden bahsedilir. Trajik sözcüğü genel anlamıyla feci bir durumu, zarar vericiliği veya ölümü hatırlatır. Trajik kavramı sözlüklerde Acıklı, acınası, 1 trajedi ile ilgili, çok acılı, feci 2 , feci olan, dehşet olan, feci olay 3 , facia, felaket, korkunç olay 4 olarak geçmektedir. Trajik herhangi bir duygu değildir, korku ve acımalarımızda değil, olayların kendisindedir. Dünyanın yapısındaki trajik bunlarla ortaya çıkar, ancak bir olay ya da bir insan trajik unsuru taşımakla trajik olur. 5 Yani bir durumun trajik diye nitelendirilmesi için bazı ölçütlere gereksinim vardır. Trajik olan en başta insanla ilgili olandır ve içerisinde tarihsellik taşır. İnsanlık tarihini etkileyebilmesi, evrensel bir boyuta sahip olması gereklidir. Ayrıca trajik olan çatışmayı bünyesinde barındırır. Çatışmanın uçları doğurgan ve birbirleriyle uzlaşmaz yapıdadırlar. Karşıt güçler ne kadar sağlam ve güçlü ise trajik olanın sarsıntısı o denli büyüktür. Yalnız bu çatışma, tüm insanlığı ilgilendirmelidir. Trajik olan için insanlığı ilgilendirmeli, karşıt uçlara sahip olmalı saptamasına bir de çatışmanın sonucunu eklemek gerekecektir. Sanata Felsefe Gözüyle Bakmak adlı kitabında İoanna Kuçuradi çatışma sonucunun trajik olmasını şöyle belirler: "Bir durumun trajik olabilmesi için bir değerin yok olması, bu değerin yok olmasına da başka bir değerin yol açması gerekir". 6 Max Scheler ise trajik olanı çatışmayı değerler ekseninde düşünerek şöyle bir sonuca varmıştır: " (…) trajik, en başta, yüksek

This investigation applies Spivak's "Subaltern Theory" to undertake a comparative examination of Mastaneh, the History of the Forgotten and Nine Parts of Desire. Spivak maintains that comparative studies in world literature are currently predominantly conducted in accordance with the logic of globalization during the capitalist era. She is of the opinion that the field of literature is currently only used as a means to ensure the survival of Western powers. When they wish to investigate other cultures, they refer to them as "Third World" and regard them as an undeveloped "other." These criticisms are exacerbated when the Western world interacts with subordinate subjects, particularly the female gender. Due to the fact that they only provide an appearance of the situation of women in relation to their objectives. For the sake of its own objectives, it only presents a semblance of subalterns, particularly those of the female gender, and achieves an idealistic and essentialist policy. However, the subaltern subject is aware that a gender that is both expanding and developing is the most advantageous scenario for her when she speaks and behaves as a woman. It is regrettable that the subjugated and marginalized individuals should disclose another history of the oppressed, which has been neglected, in the shadow of this game. Through an examination of a selection of Spivak's theoretical works, including "Can the Subaltern Speak?" (1985), Death of a Discipline (2003), and "Rethinking Comparativism" (2009), this research will demonstrate that the Subaltern can articulate her pure experiences and self-expression through literature without the assistance of global powers, correction, or assistance.

This paper attempts to re-read Soyinka's absurdist play, The Road, to demonstrate that its depth of philosophical meaning transcends earlier critical interpretations that seem to view Soyinka's linguistic obscurantism as a weakness rather than a metafunctional device. It employs illustrative accounts that language itself is a symbolic thematic problem which Soyinka projects in the play both as a character, center, and circumference of postcolonial African literature and human society in general. The linguistic ideas of Halliday, Barthes, Deridda, and Nietzsche are used to elucidate the problem of the inchoate nature of language and the inevitable fact that language is indeed a 'prisoner' of human thought. Thus, Professor's search for the 'Word' is a trope of Soyinka's search for the solution to the language problem arising from the 'disjunctive' relations between the European languages and the 'indigenous ideas of African literature'-a problem which short-circuits the communication, exchange, and transaction of artistic and aesthetic meaning among the African folk. Thus, this paper presents a counter discourse that seeks to push the interpretation of the play beyond the frontiers of Soyinka's personal problem of linguistic complexity, as claimed in earlier critical discussions of the play. The play is not just a drama, but a philosophical statement on the problem of language itself, as well as the problem of situating communication of otherwise disparate ideas and tropes of Africa in a colonial language, which is symbolized by Murano's loss of speech and his inability to communicate his knowledge and understanding of what he saw at the critical moment of his temporary transition between life and death.

This paper examines symbolism in traditional African worldview and makes a call for African school of thought in symbolic anthropology. It discusses cultural symbolism as traditional communication mechanism and the study portends great relevance in meaningful discussion of African anthropology. Data indicate that symbolic anthropology has not been properly articulated in African scholarship, thus this study expands the frontiers of knowledge by unraveling and promoting traditional information technology. Data collection involves literary sources and oral sources from key informants. Data analysis uses structuralism perspectives. The study emphasizes that African worldview employs symbols as vehicles of communication, and notes that traditional symbols play significant roles in traditional societies because without symbolic behaviors and devoid of culture, human beings would be no better than beasts. Thus the study carefully examines language, symbolic cultural items and cultural symbols to illustrate the discourse. This treatise submits that critical analysis of traditional symbols is of great relevance to the enhancement of African cultural study which has faced, over a long period of time, annihilating onslaughts of colonialism, westernization and globalization and recently sinoization. The study identifies the challenges of traditional symbolism and its implications and 1 1 also highlights the challenges of globalization on traditional symbols. The study submits that in the decolonization process of African thoughts, cultural items, a thoroughly Afrocnetric view be distilled and discussed to become useful in scholarship.

The article focuses on manifestations of the metamodern philosophical paradigm in contemporary multicultural art, particularly in an American immigrant novel. In recent years, there has been a wide discussion on naming and defining the ongoing reality, so the related theories have been reviewed to identify the current period characterized by globalization and, thus, cross-culture diversification of the communities. According to our research, multiculturalism can be defined as a social policy of metamodern diversity. Analyzing multicultural literature, we have illustrated how the distinguishing features of the metamodern worldview, like constant oscillation, reconstruction, metaxy, pluralism, etc., are expressed in the content and form of multicultural literature. The research findings may contribute to the further understanding the multicultural nature of metamodern principles in philosophy, cultural studies, and social relations.

The characteristic feature of Beyzai's works is his philosophical attitude in the atmosphere of ritual theater and the use of archetypes and mythological and legendary elements, but the modern writing style of the play Afra or the Day Passes has caused it to have many and fewer political, social and cultural impressions compared to his other works. It is an archetypal and mythological perception. For this reason, I try to analyze the characters of this work based on Jung's archetypal theory in this research. The main purpose of this research is to find the appearance of archetypes and the psychological and identity dimensions of the characters of this work by answering the main question, that is, how do Jungian archetypes appear in the playAfra or the Day Passes, and how does this appear on the characters of this work? This research is applied, descriptive-analytical, and it was done with the method of collecting library information and qualitative analysis based on Jung's approach and psychological theory of archetypes and non-random selective sampling method based on the relationship with the subject or superior example. This research shows that Beyzai in Afra's play has used the theory of Jungian archetypes, which shows his archetypal elements, mother, old man, persona, hero, shadow, child, anima, and animus, on the characters of Afra's play, including Shazdeh Khanum, Afra We see female officers, Shazdeh

The importance of costumes in stage performance cannot be overlooked in the history of theatre, due to the vital role it plays in enhancing the depiction of the characters, reflecting their psychology, and establishing the social and economic status of the character. It also projects actors' personality, occupation and lifestyle. Depending on how the director puts costume to use, it can bring about clarification in the characters' relationship and narrate the story. It nonetheless, fulfils an aesthetic purpose of beautifying the characters as well as the scenes. Most costumes over the years have served as a reminder of history and a preserver of the culture of African people. The import and introduction of foreign films to the African audience brought with it the western lifestyle and dressing, which is constantly emulated by the Africans. This has affected his/her way of dressing and taste for cultural values. His/her local attire made from handmade fabrics such as Aso-oke, Adire, Kente, Maasai Shuka etc, has been more or less replaced by western outfits made from imported fabrics (shirt and trousers or skirt and blouse). What we have now is a situation where an African man tends to wear his traditional attire once in a while or on special occasions like, weddings, naming, burial, chieftaincy ceremony and other ceremonies, thereby, making the patronage of the local textile materials much lower, than that of foreign materials. Hence, In an age where majority of our entertainment comes to us through the electronic media, consisting of the screen and radio, which has obviously affected the number of theatre-goers over the decades; there is need to search for the relevance of theatre in this present era, its functions and values in the growth and development of the African society, so as to ensure its continuity. This study will discuss the role of theatrical costumes in the preservation of African traditional attire using Death and the King's Horseman, a staged performance by the 400 level students of Department of Theatre and Film Arts, University of Jos, with a view of bringing out the relevance of theatre in the 21st century, using qualitative research method and conclusion will be drawn based on the outcome of the analysis.

his study seeks to explore the use of adjacency pairs in Ola Rotimi`s Our Husband Has Gone Mad Again and The gods Are Not to Blame. A secondary data was used to analyse this study. A purposive sampling method was used to collect the instances of types of adjacency pairs, toners and insertion sequences used in the aforementioned texts. The collection and analysis of data in both texts create a gap for this research work. A qualitative descriptive research design was used to collect and analyse the derived data of this study. This research work is anchored on MAK Halliday's Systemic Functional Linguistics (SFL) and it is drawn from Conversation Analysis (CA) approach. The finding of the study reveals the effective and consistent use of adjacency pairs such as question-answer, summon-answer, request-acceptance, question-refusal, announcement-declaration, assumption-clarification and request-refusal in the in-talk-interactions that occur among the characters in both texts. These types of adjacency pairs are used by the characters in various parts of both texts in order to ensure the proper exchange of ideas and thoughts are communicated and rationally expressed as revealed in the texts. The finding of the study also shows the use of uptoners, downtoners and insertion sequences in both texts.

Domietta Torlasco's shorts GARFIELD PARK, USA, SUNKEN GARDENS und HOUSE ARREST explore surveillance, imprisonment and borders: borders between space and time, outside and inside, urban and rural. In GARFIELD PARK, USA, the botanical garden represents the "impossible" center of a zone in the process of becoming annihilated. Stories intertwine around it, emanating from streets, from a church, from the history of film and from a soundscape, opening up unexplored paths. In SUNKEN GARDENS plants appear as silent witnesses of the people – of the unemployed, the working poor, the disenfranchised middle-class – almost all of whom are confined to roadside motels in Florida. The film consists of interviews, staged readings, and static portraits. In HOUSE ARREST borders and domesticity collide in the inanimate objects of the Stasi Museum in Berlin. Sounds and voices from Hollywood film clips disrupt the continuum of history.

Program:
SUNKEN GARDENS Domietta Torlasco USA 2016 English original version DCP 19 min.
HOUSE ARREST Domietta Torlasco USA 2015 English original version DCP 9 min.
GARFIELD PARK, USA Domietta Torlasco USA 2021 English original version DCP 33 min.
Plus films selected by Domietta Torlasco from the Arsenal Archive