scholarly journals What Happened?: An Examination of PLAYDATE, a Cellphone-Oriented, Neighborhood-Wide, Beyond-the-Stage Play in and About Downtown Brooklyn

Streetnotes ◽  
2021 ◽  
Vol 27 (0) ◽  
Author(s):  
Ying Liu ◽  
Kenneth Pietrobono ◽  
Kuan-Yi Chen ◽  
John Matturri ◽  
Seth Cohen
Keyword(s):  
Stage Play

Muriel Spark's Early Fiction

2021 ◽  
Author(s):  
James Bailey
Keyword(s):  
Short Stories ◽  
Critical Analysis ◽  
Social Contexts ◽  
Public Image ◽  
Critical Study ◽  
Social Critique ◽  
The Public ◽  
The Social ◽  
Stage Play ◽  
Insight Into

This book presents a detailed critical analysis of a period of significant formal and thematic innovation in Muriel Spark’s literary career. Spanning the mid-1950s to the mid-1970s, it identifies formative instances of literary experimentation in texts including The Comforters, The Driver’s Seat and The Public Image, with an emphasis on metafiction and the influence of the nouveau roman. As the first critical study to draw extensively on Spark’s vast archives of correspondence, manuscripts and research, it provides a unique insight into the social contexts and personal concerns that dictated her fiction. Offering a distinctive reappraisal of Spark’s fiction, the book challenges the rigid critical framework that has long been applied to her writing. In doing so, it interrogates how Spark’s literary innovations work to facilitate moments of subversive satire and gendered social critique. As well as presenting nuanced re-readings major works like The Prime of Miss Jean Brodie, it draws unprecedented attention to lesser-discussed texts such as her only stage play, Doctors of Philosophy, and early short stories.

Der Weg zur Entscheidung: Verfahren oder Verhandlung?

2020 ◽  
Vol 47 (3) ◽  
pp. 371-414
Author(s):  
Richard Lüdicke
Keyword(s):  
Roman Empire ◽  
General Model ◽  
Decision Procedure ◽  
Holy Roman Empire ◽  
The Reformation ◽  
To Come ◽  
Stage Play ◽  
Made In

How to Come up for a Decision: Procedure or Negotiation? The Disputations in Cities in the 1520s The disputations held in imperial cities of the Holy Roman Empire during the 1520 s, facing the turmoils caused by the reformation, served – like a stage play – to showcase and communicate the decision to implement Reformation that had already been made in advance. Usually, this is the judgement on the so called “Religionsgespräche”. Although this view shows up even in contemporary statements, the article argues, that a differentiated analysis of the various actors, their interests and possibilities to influence the events opens up a clearer perspective on what happened and why it happened. Using the sociological distinction of procedure and negotiation, this article shows, that the disputation had to keep the balance between reglemented procedure and more liberal negotiation to produce an accepted and also binding result for their community. Examples from the disputations of Zürich (1523), Kaufbeuren, Memmingen, Nürnberg (1525) and Bern (1528) allow this article to illustrate different ways of how this balancing on a razor’s edge could be done. The conclusion develops a general model of how the cities used disputations to try to deal with the religious turmoil while facing stiff opposition from local clerics and scholars, the papal church and the emperor.

Rhythmus als fundamentale soziale Orientierung

Paragrana ◽  
2018 ◽  
Vol 27 (1) ◽  
pp. 345-367 ◽  
Author(s):  
Michael M. Dittmann
Keyword(s):  
Linear System ◽  
Social Interactions ◽  
Pattern Analysis ◽  
Social Contexts ◽  
Social Orientation ◽  
Individual Autonomy ◽  
Rhythmic Pattern ◽  
Social Coordination ◽  
Non Linear System ◽  
Stage Play

AbstractHow do actors co-ordinate their actions in a well-tested stage play? And how does a dance-theatre performance contribute to a better understanding of processes of social coordination? The way participants co-ordinate social interactions is guided by mechanisms that are true for the actors involved in the scene. Viewed as a burning glass, the dance-theatre scene is analysed in a cumulative theoretical process, as actors in this scripted coordination are oriented towards i) implicit rules in social contexts, ii) non-linear system attributes, iii) anticipations of events, iv) mutual monitoring and v) rhythmic gestalts. Rhythmic pattern analysis shows when and with what tempo and intensity participants adapt to each other’s multi-modal impulses, establishing (prelude), narrowing (climax) and dissolving (conclusion) a rhythmic co-construction. Micro-macro links between transitions of rhythmic gestalts (co-regulation) and the speakers’ contributions (individual autonomy) reveal rhythm as a fundamental social orientation.

Byron and the Stage

1978 ◽  
Vol 4 (1) ◽  
pp. 24-27
Author(s):  
Patrick A. Storer
Keyword(s):  
Twentieth Century ◽  
Lord Byron ◽  
Theatre History ◽  
Literary Figure ◽  
Stage Play ◽  
Magazine Articles ◽  
Objective Study

The eight plays written by Lord Byron between 1816 and 1822 constitute one of the major areas of his development as an important literary figure. Yet, paradoxically, these works have been relatively neglected by twentieth century criticism. Byron may be said to be one of the best documented poets biographically and critically. As a playwright, however, no comprehensive and objective study of him has been published. A great deal of the criticism of Byron's plays is to be found in magazine articles and short, often highly prejudiced, chapters in longer works devoted to theatre history. The result of this spasmodic and patchy criticism has been confusion and contradiction. One question which confronts any critic of the plays is whether Byron intended these works for stage representation or whether he saw them as ‘closet dramas’, intended for the solitary reader only. Byron's own attitude was ambiguous. Of his second published play, Marino Faliero, he wrote to Murray, his publisher, in apparently unequivocal terms:I have never written but for the solitary reader, and require no experiments for applause beyond his silent approbation … I claim my right as an author to prevent what I have written from being turned into a stage play.

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