Of an Apocalyptic Tone Recently Adopted in Theatre: British Drama, Violence and Writing by Dan Rebellato

“…In the twenty-first century, however, these representations have evolved in a new way, characterised both by an escalation of the scale and intensity of the violence, to a point one could call apocalyptic, coupled with specifically non-realist dramaturgical and theatrical modes of production. The essay explains these phenomena as two sides of an attempt to resist neoliberal capitalism’s totalising colonisation of our experience of the real and to imagine the unimaginable end of capitalism.…”
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THE TONAL AND THE INSTRUMENTAL SYMBOLISM IN “MAGNIFICAT” (BWV 243), D MAJOR, OF J. S. BACH by Gabriela Coca

“…The synthesis of the analysis of this study presents conclusive, the full text of its historical datas, the dramaturgy of the form, the power centers, the relevance of the power centers in the poetic text, the dramaturgical dosing of the poetic text, the dramaturgy of the tonalities, the dramaturgy of the instruments using, and aspects of the illustrative program in music. …”
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Autour de Brecht et Buenaventura by Cristian Bedoya

“…Nous abordons premièrement le Théâtre épique, puis la Méthode de Création collective, ce qui nous permet de mieux comprendre la singularité de chacun des deux dramaturges. Ces analyses indépendantes, appuyées notamment sur les écrits théoriques de Brecht, mais également sur des entretiens, des articles et des pièces de « El Maestro », aboutissent à un chapitre final qui essaie de rendre compte de l'influence décisive que l'auteur de Mère courage a exercé sur Buenaventura.…”
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Cuando el hábito lo hace el monje : dos santos sastres (Santo y sastre de Tirso de Molina y El lego de Alcalá de Luis Vélez de Guevara) by Luis González Fernández

“…La forte rivalité entre les deux dramaturges pourrait être à l’origine de ce choix. Les dates de composition des deux pièces sont assez voisines, celle de Tirso étant sans doute antérieure à celle de Vélez. …”
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Silent Pasts and a Reconfigured Present in Histories of Chinese (New) Opera by Annie Yen-Ling Liu

“…The image of ‘opera’ that emerges in these accounts reconfigures the form for contemporary use, with the result that the history of Western opera as an agent is absent - or, in the case of dramaturgical models and influences, distorted.…”
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VISUAL AVATAR IDENTIFICATION ON ONLINE GAME PLAYERS by Bunga Fefiana Mustikasari, Nuril Kusuma Wardani, Rachma Yulia Nisa

“…This study uses a virtual ethnographic method that is connected with dramaturgical theory, how a person plays a role in the world of online games by using this avatar system. …”
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Politique tragique vs. politique comique ? Richard III de Shakespeare et A Game at Chess de Middleton by Clotilde Thouret

“…The critical historiographic significance of the two plays lies mainly in the dramaturgic procedures that construct for the audience a generalizing point of view, as well as a process of unveiling. …”
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The Alps as a Therapeutic Landscape in the Animation Series “Heidi, Girl of the Alps” (1974) by Oliver Salas Herrera

“…Focusing on this anime, we will study how the series, throughout its fifty-two episodes, uses various dramaturgical and visual resources to immerse viewers around the world in the imposing grandeur of the Alps, captivating us with its beauty and healing properties, while at the same time inviting us to reject the dehumanisation of the big cities. …”
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Los Alpes como paisaje terapéutico en la serie de animación “Heidi, la niña de los Alpes” (1974) by Oliver Salas Herrera

“…Focusing on this anime, we will study how the series, throughout its fifty-two episodes, uses various dramaturgical and visual resources to immerse viewers around the world in the imposing grandeur of the Alps, captivating us with its beauty and healing properties, while at the same time inviting us to reject the dehumanisation of the big cities. …”
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Du dépouillement surgit le silence : une adaptation sous couvert de minimalisme audiovisuel by Louis Daubresse

“…We will examine in turn the dramaturgical role that this silence from the Coen movie plays in the fictional universe of No Country for Old Men, and the primary space in which it unfolds. …”
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‘It’s a secret in my life’: frontstage and backstage experiences of women undergoing induced abortions in a rural community of Pakistan by Rubeena Slamat, Piet Bracke, Melissa Ceuterick

“…This study explores the experiences of women who have had induced abortions and maintained their social status within the community. Goffman’s dramaturgical theory (frontstage and backstage behaviours) is applied in order to document these experiences. …”
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Les catastrophes futures ou les futurs de la catastrophe : les désastres à venir dans Jouer le Paradis et Let Them Eat Money by Eliane Beaufils

“…Though they range among the rare climate-fictions in drama, their dramaturgical strategies diverge. So does their vision of catastrophe, related to two different, maybe complementary ethics. …”
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Contemporary African American Women Playwrights: Shaping Identity through Violence by Inmaculada Pineda

“…Cet article explore le sujet de la violence comme l’un des facteurs responsables de la formation de l´identité des femmes afro-américaines défavorisées, selon la description qu’en donnent les dramaturges afro-américaines. Deux approches sont considérées, d´un côté la mentalité féministe du peuple noir, et de l’autre, l’éloignement du multiculturalisme vers une perspective plus universaliste puisque la violence paraît constante dans le temps et l´espace. …”
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Klang als Poetik und Form. Instrumentatorische Beobachtungen und Adornos »unendliche Streicherperspektive« in Maurice Ravels Pavane de la Belle au bois dormant aus Ma mère l’oye... by Emmanouil Vlitakis

“…The orchestration reveals a potential to engender substantial dramaturgical changes to the original version due to a specifically ›designed‹ transformation of the medium (piano – orchestra). …”
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An approach to Renaissance margins: some representations of the labyrinth on the Elizabethan stage by Sophie ALATORRE

“…Les textes de trois grands dramaturges que furent Marlowe, Peele et Shakespeare en témoignent : lorsqu’ils abordent des thèmes tels que la réclusion, l’intimité, la déviance ou les stratégies de l’oblique, l’image du labyrinthe est convoquée et permet de décrire une réalité marginale où la parole se délie et le regard critique se développe, et qui, insensiblement, se mue peu à peu vers le centre. …”
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