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21L.005 Introduction to Drama (MIT) 21L.005 Introduction to Drama (MIT)

Description

Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings. Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings.

Subjects

Drama | Drama | literary arts | literary arts | storytelling | storytelling | poetry | poetry | live performance | live performance | ritual | ritual | entertainment | entertainment | communities | communities | social norms | social norms | audiences | audiences | plays | plays | dramatic structure | dramatic structure | performing arts | performing arts | writing | writing | discussion | discussion | writer | writer | speaker | speaker | cultures | cultures | tools | tools | fiction | fiction | ethical | ethical | historical | historical | political | political | artistic | artistic | questions | questions | creativity | creativity | self-awareness | self-awareness | communicate | communicate | theater | theater | outdoor public theatres | outdoor public theatres | scaena frons | scaena frons | many theatre artists | many theatre artists | violence onstage | violence onstage | neoclassical theatre | neoclassical theatre | neoclassical rules | neoclassical rules | medieval theatre | medieval theatre | environmental theatre | environmental theatre | departures from realism | departures from realism | significant playwrights | significant playwrights | first permanent theatre | first permanent theatre | theatre history | theatre history | theatre architecture | theatre architecture | selective realism | selective realism | neoclassical ideals | neoclassical ideals | autos sacramentales | autos sacramentales | formal theatre | formal theatre | tiring house | tiring house | realistic theatre | realistic theatre | scene design | scene design | staging practices | staging practices | female playwrights | female playwrights | crisis drama | crisis drama | symbolist drama | symbolist drama | dramatic rules | dramatic rules | theatrical semiosis | theatrical semiosis | theatrical competence | theatrical competence | deictic orientation | deictic orientation | proxemic relations | proxemic relations | theatre semiotics | theatre semiotics | theatrical communication | theatrical communication | dramatic information | dramatic information | dramatic discourse | dramatic discourse | theatrical sign | theatrical sign | theatrical discourse | theatrical discourse | theatrical frame | theatrical frame | dramatic world | dramatic world | dramatic text | dramatic text | perlocutionary effect | perlocutionary effect | theatrical text | theatrical text | performance text | performance text

License

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21L.005 Introduction to Drama (MIT) 21L.005 Introduction to Drama (MIT)

Description

Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings. Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings.

Subjects

Drama | Drama | literary arts | literary arts | storytelling | storytelling | poetry | poetry | live performance | live performance | ritual | ritual | entertainment | entertainment | communities | communities | social norms | social norms | audiences | audiences | plays | plays | dramatic structure | dramatic structure | performing arts | performing arts | writing | writing | discussion | discussion | writer | writer | speaker | speaker | cultures | cultures | tools | tools | fiction | fiction | ethical | ethical | historical | historical | political | political | artistic | artistic | questions | questions | creativity | creativity | self-awareness | self-awareness | communicate | communicate | theater | theater | outdoor public theatres | outdoor public theatres | scaena frons | scaena frons | many theatre artists | many theatre artists | violence onstage | violence onstage | neoclassical theatre | neoclassical theatre | neoclassical rules | neoclassical rules | medieval theatre | medieval theatre | environmental theatre | environmental theatre | departures from realism | departures from realism | significant playwrights | significant playwrights | first permanent theatre | first permanent theatre | theatre history | theatre history | theatre architecture | theatre architecture | selective realism | selective realism | neoclassical ideals | neoclassical ideals | autos sacramentales | autos sacramentales | formal theatre | formal theatre | tiring house | tiring house | realistic theatre | realistic theatre | scene design | scene design | staging practices | staging practices | female playwrights | female playwrights | crisis drama | crisis drama | symbolist drama | symbolist drama | dramatic rules | dramatic rules | theatrical semiosis | theatrical semiosis | theatrical competence | theatrical competence | deictic orientation | deictic orientation | proxemic relations | proxemic relations | theatre semiotics | theatre semiotics | theatrical communication | theatrical communication | dramatic information | dramatic information | dramatic discourse | dramatic discourse | theatrical sign | theatrical sign | theatrical discourse | theatrical discourse | theatrical frame | theatrical frame | dramatic world | dramatic world | dramatic text | dramatic text | perlocutionary effect | perlocutionary effect | theatrical text | theatrical text | performance text | performance text

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21L.703 Studies in Drama: Too Hot to Handle: Forbidden Plays in Modern America (MIT) 21L.703 Studies in Drama: Too Hot to Handle: Forbidden Plays in Modern America (MIT)

Description

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course w Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course w

Subjects

drama | drama | forbidden plays | forbidden plays | Modern America | Modern America | decision alley | decision alley | drama strategies | drama strategies | drama skills | drama skills | purchasing institution | purchasing institution | drama activity | drama activity | drama activities | drama activities | writing opportunity | writing opportunity | last wolf | last wolf | learning medium | learning medium | literacy activities | literacy activities | writing opportunities | writing opportunities | foundation stage | foundation stage | assessment focus | assessment focus | two long lines | two long lines | dramatic activity | dramatic activity | action conventions | action conventions | literary arts | literary arts | storytelling | storytelling | poetry | poetry | live performance | live performance | ritual | ritual | entertainment | entertainment | communities | communities | social norms | social norms | audiences | audiences | plays | plays | dramatic structure | dramatic structure | performing arts | performing arts | writing | writing | discussion | discussion | writer | writer | speaker | speaker | cultures | cultures | tools | tools | fiction | fiction | ethical | ethical | historical | historical | political | political | artistic | artistic | questions | questions | creativity | creativity | self-awareness | self-awareness | communicate | communicate | theater | theater | outdoor public theatres | outdoor public theatres | scaena frons | scaena frons | many theatre artists | many theatre artists | violence onstage | violence onstage | neoclassical theatre | neoclassical theatre | neoclassical rules | neoclassical rules | medieval theatre | medieval theatre | environmental theatre | environmental theatre | departures from realism | departures from realism | significant playwrights | significant playwrights | first permanent theatre | first permanent theatre | theatre history | theatre history | theatre | theatre | censorship | censorship | blacklist | blacklist | banned | banned | obscenity | obscenity | architecture | architecture | selective realism | selective realism

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21L.005 Introduction to Drama (MIT)

Description

Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings.

Subjects

Drama | literary arts | storytelling | poetry | live performance | ritual | entertainment | communities | social norms | audiences | plays | dramatic structure | performing arts | writing | discussion | writer | speaker | cultures | tools | fiction | ethical | historical | political | artistic | questions | creativity | self-awareness | communicate | theater | outdoor public theatres | scaena frons | many theatre artists | violence onstage | neoclassical theatre | neoclassical rules | medieval theatre | environmental theatre | departures from realism | significant playwrights | first permanent theatre | theatre history | theatre architecture | selective realism | neoclassical ideals | autos sacramentales | formal theatre | tiring house | realistic theatre | scene design | staging practices | female playwrights | crisis drama | symbolist drama | dramatic rules | theatrical semiosis | theatrical competence | deictic orientation | proxemic relations | theatre semiotics | theatrical communication | dramatic information | dramatic discourse | theatrical sign | theatrical discourse | theatrical frame | dramatic world | dramatic text | perlocutionary effect | theatrical text | performance text

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21L.703 Studies in Drama: Too Hot to Handle: Forbidden Plays in Modern America (MIT)

Description

Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course w

Subjects

drama | forbidden plays | Modern America | decision alley | drama strategies | drama skills | purchasing institution | drama activity | drama activities | writing opportunity | last wolf | learning medium | literacy activities | writing opportunities | foundation stage | assessment focus | two long lines | dramatic activity | action conventions | literary arts | storytelling | poetry | live performance | ritual | entertainment | communities | social norms | audiences | plays | dramatic structure | performing arts | writing | discussion | writer | speaker | cultures | tools | fiction | ethical | historical | political | artistic | questions | creativity | self-awareness | communicate | theater | outdoor public theatres | scaena frons | many theatre artists | violence onstage | neoclassical theatre | neoclassical rules | medieval theatre | environmental theatre | departures from realism | significant playwrights | first permanent theatre | theatre history | theatre | censorship | blacklist | banned | obscenity | architecture | selective realism

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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21L.703 Studies in Drama: Stoppard and Company (MIT) 21L.703 Studies in Drama: Stoppard and Company (MIT)

Description

Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches

Subjects

contemporary literature | contemporary literature | drama | drama | stoppard | stoppard | churchill | churchill | play | play | british | british | text analysis | text analysis | stagecraft | stagecraft | writer | writer | history | history | politics | politics | culture | culture | performance | performance | comedy | comedy | Tom Stoppard | Tom Stoppard | Caryl Churchill | Caryl Churchill | Anna Deveare Smith | Anna Deveare Smith | Howard Barker | Howard Barker | dramatist | dramatist

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21L.004 Reading Poetry (MIT) 21L.004 Reading Poetry (MIT)

Description

"Reading Poetry" has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions – as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion, "Reading Poetry" has several aims: primarily, to increase the ways you can become more engaged and curious readers of poetry; to increase your confidence as writers thinking about literary texts; and to provide you with the language for literary description. The course is not designed as a historical survey course but rather as an introductory approach to poetry from various directions – as public or private utterances; as arranged imaginative shapes; and as psychological worlds, for example. One perspective offered is that poetry offers intellectual, moral and linguistic pleasures as well as difficulties to our private lives as readers and to our public lives as writers. Expect to hear and read poems aloud and to memorize lines; the class format will be group discussion,

Subjects

Literature | Literature | poetry | poetry | poets | poets | English | English | Renaissance | Renaissance | modern | modern | Shakespeare | Shakespeare | sonnets | sonnets | stanza-form | stanza-form | figurative language | figurative language | metaphor | metaphor | metonymy | metonymy | meter | meter | accent | accent | duration | duration | apostrophe | apostrophe | assonance | assonance | enjambment | enjambment | chiasmus | chiasmus | hyperbole | hyperbole | litotes | litotes | Donne | Donne | metaphysical | metaphysical | literary art | literary art | language | language | aethetic | aethetic | meaning | meaning | poetic drama | poetic drama | hymns | hymns | lyrics | lyrics | history | history | rhetoric | rhetoric | song | song | drama | drama | comedy | comedy | verse | verse | form | form | rhyme | rhyme | prose | prose | musical | musical | ambiguity | ambiguity | symbolism | symbolism | world | world | irony | irony | style | style | stylistic | stylistic | poetic diction | poetic diction | simile | simile | connections | connections | cultures | cultures | genres | genres | elements of poetry | elements of poetry | lines | lines | stanzas | stanzas | English love sonnets | English love sonnets | sound | sound | figuration | figuration | literary tradition | literary tradition

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21L.703 English Renaissance Drama: Theatre and Society in the Age of Shakespeare (MIT) 21L.703 English Renaissance Drama: Theatre and Society in the Age of Shakespeare (MIT)

Description

Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the

Subjects

Shakespeare | Shakespeare | English Renaissance | English Renaissance | Marlowe | Marlowe | Jonson | Jonson | Webster | Webster | Ford | Ford | English Renaissance drama | English Renaissance drama | the relationship between theatre and society | the relationship between theatre and society | culture | culture | aesthetic | aesthetic | gender and class dynamics in Renaissance society | gender and class dynamics in Renaissance society | money | trade | and colonialism | money | trade | and colonialism | the body as metaphor and theatrical ?object? | the body as metaphor and theatrical ?object? | allegory and aesthetic form | allegory and aesthetic form | theatricality and meta-theatricality | theatricality and meta-theatricality | the private and the public | the private and the public | allegory | allegory | aesthetic form | aesthetic form | drama | drama | gender dynamics | gender dynamics | class dynamics | class dynamics | private | private | public | public | theatrically | theatrically | meta-theatrically | meta-theatrically | money | money | trade | trade | colonialism | colonialism | body | body | metaphor | metaphor | theatre | theatre | society | society | Spanish tragedy | Spanish tragedy | Hamlet | Hamlet | Jew of Malta | Jew of Malta | Alchemist | Alchemist | Duchess of Malfi | Duchess of Malfi | Broken Heart | Broken Heart | Arden of Faversham | Arden of Faversham | Witch of Edmonton | Witch of Edmonton | Knight of the Burning Pestle | Knight of the Burning Pestle | Island Princess | Island Princess

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.710 Script Analysis (MIT) 21M.710 Script Analysis (MIT)

Description

This course focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script. The Fall 2005 version of this course contains alternate readings and assignments sections. This course focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script. The Fall 2005 version of this course contains alternate readings and assignments sections.

Subjects

script analysis | script analysis | dramatic interpretation | dramatic interpretation | theater | theater | plays | plays | dramatic analysis | dramatic analysis | theatrical production | theatrical production | script | script | dialog | dialog | conflict | conflict | character | character | historical context | historical context | plot | plot | setting | setting | scene | scene | directing | directing | staging | staging | design | design

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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21M.710 Script Analysis (MIT) 21M.710 Script Analysis (MIT)

Description

This class focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script. Students discuss the consequences of those options for production. This class focuses on reading a script theatrically with a view to mounting a coherent production. Through careful, intensive reading of a variety of plays from different periods and different aesthetics, a pattern emerges for discerning what options exist for interpretating a script. Students discuss the consequences of those options for production.

Subjects

script analysis | script analysis | dramatic interpretation | dramatic interpretation | theater | theater | plays | plays | dramatic analysis | dramatic analysis | theatrical production | theatrical production | script | script | dialog | dialog | conflict | conflict | character | character | historical context | historical context | plot | plot | setting | setting | scene | scene | directing | directing | staging | staging | design | design

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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Introduction to drama Introduction to drama

Description

This is a module framework. It can be viewed online or downloaded as a zip file. As taught in Autumn Semester 2010. This module is designed to provide an introduction to the analysis and performance of drama. It has three main aims: 1) To provide an introduction to the analysis of drama; 2) To give a taste of the wide range of performance convention in history, from Ancient Greek tragedy to nineteenth-century naturalism; 3) To foreground drama as a performance medium rather than a form of literature. At Nottingham, we approach drama as a performance medium: an event within a specific time, space and locale, in which real people and objects are presented to other people in real, shared space. It is always a social event, so we learn to think about the people who do the performing, the p This is a module framework. It can be viewed online or downloaded as a zip file. As taught in Autumn Semester 2010. This module is designed to provide an introduction to the analysis and performance of drama. It has three main aims: 1) To provide an introduction to the analysis of drama; 2) To give a taste of the wide range of performance convention in history, from Ancient Greek tragedy to nineteenth-century naturalism; 3) To foreground drama as a performance medium rather than a form of literature. At Nottingham, we approach drama as a performance medium: an event within a specific time, space and locale, in which real people and objects are presented to other people in real, shared space. It is always a social event, so we learn to think about the people who do the performing, the p

Subjects

UNow | UNow | drama | drama | ukoer | ukoer | second life | second life | performing arts | performing arts | virtual performing arts studio | virtual performing arts studio | analysis and performance of drama | analysis and performance of drama | performance convention in history | performance convention in history | ancient Greek tragedy | ancient Greek tragedy | nineteenth-century naturalism | nineteenth-century naturalism

License

Except for third party materials (materials owned by someone other than The University of Nottingham) and where otherwise indicated, the copyright in the content provided in this resource is owned by The University of Nottingham and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike UK 2.0 Licence (BY-NC-SA) Except for third party materials (materials owned by someone other than The University of Nottingham) and where otherwise indicated, the copyright in the content provided in this resource is owned by The University of Nottingham and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike UK 2.0 Licence (BY-NC-SA)

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Escultor Hein Semke. Portugal

Description

Subjects

fundaocaloustegulbenkian | gulbenkian | bibliotecadearte | biblioteca | arte | mrionovais | mrio | novais | heinsemke | hein | semke | escultor | exposiohistricadaocupao | exposio | histria | ocupao | 1937 | saladodramadaocupao | sala | drama | odramacolonial | colonial

License

No known copyright restrictions

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Escultor Hein Semke. Portugal

Description

Subjects

fundaocaloustegulbenkian | gulbenkian | bibliotecadearte | biblioteca | arte | mrionovais | mrio | novais | heinsemke | hein | semke | escultor | exposiohistricadaocupao | exposio | histria | ocupao | 1937 | saladodramadaocupao | sala | drama | odramacolonial | colonial

License

No known copyright restrictions

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Virtual performing arts studio Virtual performing arts studio

Description

Subjects

UNow | UNow | ukoer | ukoer | virtual performing arts studio | virtual performing arts studio | introduction to drama | introduction to drama | second life | second life | vpas | vpas | school of english studies | school of english studies

License

Except for third party materials (materials owned by someone other than The University of Nottingham) and where otherwise indicated, the copyright in the content provided in this resource is owned by The University of Nottingham and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike UK 2.0 Licence (BY-NC-SA) Except for third party materials (materials owned by someone other than The University of Nottingham) and where otherwise indicated, the copyright in the content provided in this resource is owned by The University of Nottingham and licensed under a Creative Commons Attribution-NonCommercial-ShareAlike UK 2.0 Licence (BY-NC-SA)

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Description

A practical Masterclass with Greg Doran from the Royal Shakespeare Company on how Shakespeare spins rhetoric for the actor, with Sam Leith, journalist and writer, and author of 'You Talkin' to Me'. Students from Oxford University Drama Society take part. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

literature | humanities | drama | Royal Shakespeare Company | shakespeare | #greatwriters | humanitas | literature | humanities | drama | Royal Shakespeare Company | shakespeare | #greatwriters | humanitas

License

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Description

A practical Masterclass looking at what clues Shakespeare puts into the verse for the actor. Students from Oxford University Drama Society will take part in the masterclass with an audience. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

literature | humanities | drama | Royal Shakespeare Company | shakespeare | #greatwriters | humanitas | literature | humanities | drama | Royal Shakespeare Company | shakespeare | #greatwriters | humanitas

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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The macaroni. A comedy: As it is performed at the Theatre-Royal in York. The macaroni. A comedy: As it is performed at the Theatre-Royal in York.

Description

ebook version of The macaroni. A comedy: As it is performed at the Theatre-Royal in York. ebook version of The macaroni. A comedy: As it is performed at the Theatre-Royal in York.

Subjects

kind | kind | English drama (Comedy) | English drama (Comedy) | English wit and humor | English wit and humor | English fiction | English fiction | Comedies -- 18th century. -- England | Comedies -- 18th century. -- England | Plays -- 18th century. -- England | Plays -- 18th century. -- England | ECCO | ECCO | text | text | CC BY-SA | CC BY-SA

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Ob 1. maju - prazniku dela - IGRA International workers\' day - Play

Description

Za proslavo ob 1. maju sem pripravila igro, skozi katero naj bi učenci-gledalci osvojili pomen praznika dela in spoznali delo in življenje Prežihovega Voranca. Play that can be used before the first of may - International workers\' day. Rising awareness about workers\' day and life and work of Slovenian writer Prežihov Voranc.

Subjects

jeziki | languages | moderni jeziki | modern languages | slovenski jezik | Slovene language | šolske dejavnosti | school activities | obšolske dejavnosti | extracurricular activities | dramatizacija | dramatization | prežihov voranc | praznik dela | workers\' day | igra | play

License

http://creativecommons.org/licenses/by-nc-sa/2.5/si/ http://creativecommons.org/licenses/by-nc-sa/2.5/si/

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21L.703 Studies in Drama: Stoppard and Company (MIT)

Description

Taking as its starting point the works of one of Britain's most respected, prolific—and funny—living dramatists, this seminar will explore a wide range of knowledge in fields such as math, philosophy, politics, history and art. The careful reading and discussion of plays by (Sir) Tom Stoppard and some of his most compelling contemporaries (including Caryl Churchill, Anna Deveare Smith and Howard Barker) will allow us to time-travel and explore other cultures, and to think about the medium of drama as well as one writer's work in depth. Some seminar participants will report on earlier plays that influenced these writers, others will research everything from Lord Byron's poetry to the bridges of Konigsberg, from Dadaism to Charter 77. Employing a variety of critical approaches

Subjects

contemporary literature | drama | stoppard | churchill | play | british | text analysis | stagecraft | writer | history | politics | culture | performance | comedy | Tom Stoppard | Caryl Churchill | Anna Deveare Smith | Howard Barker | dramatist

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htm

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Začni dan z nasmehom na obrazu - igra Start your day with the smile - play

Description

Igra:SONCE, JEZA, RADOST, namenjena je učencem, da bi razumeli POMEN POZITIVNEGA razmišljanja. Play about positive thinking - sun, joy, laughter, ...

Subjects

jeziki | languages | moderni jeziki | modern languages | slovenski jezik | Slovene language | šolske dejavnosti | school activities | obšolske dejavnosti | extracurricular activities | igra | play | dramatizacija | dramatization | pozitivno razmišljanje | positive thinking | veselje | joy | smeh | laugh

License

http://creativecommons.org/licenses/by-nc-sa/2.5/si/ http://creativecommons.org/licenses/by-nc-sa/2.5/si/

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21L.000J Writing About Literature (MIT) 21L.000J Writing About Literature (MIT)

Description

Writing About Literature aims: To increase students' pleasure and skill in reading literary texts and in writing and communicating about them. To introduce students to different literary forms (poetry, fiction, drama) and some tools of literary study (close reading, research, theoretical models). To allow students to get to know a single writer deeply. To encourage students to make independent decisions about their reading by exploring and reporting back on authors whose works they enjoy. The syllabus includes an eclectic mix: William Shakespeare, Herman Melville, Henry James, Michael Frayn, and Jhumpa Lahiri. We'll explore different ways of approaching the questions readers have about each of these texts. Writing About Literature aims: To increase students' pleasure and skill in reading literary texts and in writing and communicating about them. To introduce students to different literary forms (poetry, fiction, drama) and some tools of literary study (close reading, research, theoretical models). To allow students to get to know a single writer deeply. To encourage students to make independent decisions about their reading by exploring and reporting back on authors whose works they enjoy. The syllabus includes an eclectic mix: William Shakespeare, Herman Melville, Henry James, Michael Frayn, and Jhumpa Lahiri. We'll explore different ways of approaching the questions readers have about each of these texts.

Subjects

21L.000 | 21L.000 | 21W.734 | 21W.734 | reading | reading | writing | writing | literary criticism | literary criticism | literary texts | literary texts | Dickinson | Dickinson | Shakespeare | Shakespeare | Hughes | Hughes | Chekhov | Chekhov | Joyce | Joyce | Walker | Walker | Melville | Melville | Morrison | Morrison | analytical skills | analytical skills | essays | essays | analysis | analysis | communication | communication | poetry | poetry | fiction | fiction | drama | drama | Lahiri | Lahiri | Frayn | Frayn | textuality | textuality | conceptualization | conceptualization | film | film | media | media

License

Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htm

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V novo leto jaz hitim - igra Entering new year - play

Description

Napisala sem igro ob novem letu, v kateri lahko igra veliko učencev. Play about new year that can be played my many students.

Subjects

jeziki | languages | moderni jeziki | modern languages | slovenski jezik | Slovene language | šolske dejavnosti | school activities | obšolske dejavnosti | extracurricular activities | igra | play | dramatizacija | dramatisation | novo leto | new year

License

http://creativecommons.org/licenses/by-nc-sa/2.5/si/ http://creativecommons.org/licenses/by-nc-sa/2.5/si/

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Drži kot pribito - igra Talk show \"Drži kot pribito\" - play

Description

Napisala sem igro, aktualno ob volitvah, v kateri so lahko nastopali vsi učenci v razredu. Z igro sem želela opozoriti na zdrav način življenja. Play that represents talk show between political parties arguing about health care.

Subjects

jeziki | languages | moderni jeziki | modern languages | slovenski jezik | Slovene language | šolske dejavnosti | school activities | obšolske dejavnosti | extracurricular activities | igra | play | dramatizacija | dramatization | zdravje | health | politika | politics

License

http://creativecommons.org/licenses/by-nc-sa/2.5/si/ http://creativecommons.org/licenses/by-nc-sa/2.5/si/

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VolponeVolponeThe foxe VolponeVolponeThe foxe

Description

ebook version of VolponeVolponeThe foxe ebook version of VolponeVolponeThe foxe

Subjects

kind | kind | English drama -- 17th century | English drama -- 17th century | text | text | CC BY-SA | CC BY-SA

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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Timon of Athens

Description

Emma Smith finishes her Approaching Shakespeare series with a lecture on the play Timon of Athens. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

Subjects

shakespeare | approaching shakespeare | literature | elizabethan | drama | tragedy | shakespeare | approaching shakespeare | literature | elizabethan | drama | tragedy

License

http://creativecommons.org/licenses/by-nc-sa/2.0/uk/

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