Dramaturgy and playwriting

งานวิจัยสร้างสรรค์เรื่อง นางร้ายในลงกา : ความเป็นหญิง ความชอบธรรม ความกำกวม  เป็นงานวิจัยหนึ่งในสี่เรื่องใน  โครงการ “รามเกียรติ์ : ก้าวหน้าจากรากแก้ว” ในงานวิจัยสร้างสรรค์นี้ ผู้วิจัยศึกษาการสร้างบทละคร โดยตั้งต้นจากการศึกษาวิเคราะห์รูปแบบ และกระบวนการการนำเสนออัตลักษณ์ของนางเอกในละครโทรทัศน์ไทยในปัจจุบัน โดยเชื่อมโยงและเปรียบเทียบกับตัวละครผู้หญิงสามตัวในรามเกียรติ์ ได้แก่ มณโฑ สุวรรณกันยุมา และเบญกาย  แนวคิดหลักที่ผู้วิจัยใช้ในการศึกษาวิเคราะห์เพื่อสร้างบทละครเรื่อง นางร้ายในลงกา คือ แนวคิดเรื่องมายาคติ เพื่อทำการรื้อสร้างรูปแบบการนำเสนอตัวละครผู้หญิงในละครโทรทัศน์  ซึ่งผู้วิจัยเชื่อว่าเป็นพื้นที่ที่ผู้หญิงไทยใช้หลีกหนีความจริงไปสู่โลกอุดมคติ แล้วนำสิ่งที่ได้จากการรื้อสร้างมาประกอบสร้างใหม่เป็นบทละครเวทีซึ่งมุ่งนำเสนอให้ผู้ชมตระหนักถึงการสร้างมายาคติของความเป็นนางเอกผ่านสื่อละครโทรทัศน์  ในบทละครนี้ ผู้วิจัยตั้งคำถามกับความชอบธรรมของความรุนแรง การแก้แค้น และจุดจบของตัวละครผู้หญิงในแบบที่เป็นที่ยอมรับของสังคม ซึ่งนำไปสู่การตั้งคำถามกับรูปแบบและความหมายของ “คุณธรรมและจริยธรรมของความเป็นหญิง” ที่ละครโทรทัศน์ได้ทำการผลิตซ้ำให้กับผู้ชม
ผู้วิจัยตั้งสมมุติฐานว่า บทละครที่สร้างโดยมุ่งเปิดเผยให้ผู้ชมเห็นกระบวนการสร้างมายาคติความเป็นนางเอกในละครโทรทัศน์ไทยปัจจุบัน น่าจะทำให้ผู้ชมไทยร่วมสมัยได้ตระหนักถึงประเด็นที่ถูกนำเสนอผ่านละครตัวละครนางเอกในโทรทัศน์  เรื่องการทับซ้อนระหว่างการเลือกกระทำใน “สิ่งที่ถูกต้อง” ตามหลักคุณธรรม กับการ “เลือกอย่างถูกต้อง” ในการเข้าข้างฝ่ายที่จะชนะ และสิ่งใดคือจริยธรรมที่ผู้ชมรวมถึงคนในสังคมปัจจุบันมองว่าเป็นการกระทำที่มีความชอบธรรม ซึ่งนำไปสู่การตั้งคำถามกับรูปแบบและความหมายของ “คุณธรรมและจริยธรรมของความเป็นหญิง” ที่ละครโทรทัศน์ได้ทำการผลิตซ้ำให้กับผู้ชมชาวไทย
ผู้วิจัยสร้างบทละคร นางร้ายในลงกา ในรูปแบบของละครซ้อนละคร  โดยแบ่งตัวเรื่องออกเป็นสองเส้นเรื่อง  เส้นหลักเป็นเรื่องของคณะผู้จัดละครโทรทัศน์ที่ต้องสร้างบทละครที่ดัดแปลงมาจากช่วงหนึ่งของเรื่องรามเกียรติ์  อีกเส้นเรื่องหนึ่งเป็นเรื่องของตัวละครผู้หญิงสามตัวจากเรื่องรามเกียรติ์ที่เล่าเรื่องที่จะใช้สำหรับการจับระบำฟ้อน  เส้นเรื่องรองนี้ทำหน้าที่ทั้งสนับสนุนและตั้งคำถามกับเส้นเรื่องหลัก โดยรูปแบบโครงเรื่องของทั้งสองเส้นเรื่องมีความกำกวมและทับซ้อนซึ่งกันและกัน  เพื่อตั้งคำถามกับผู้ชมว่า ใครที่เป็นผู้เล่าเรื่องของอีกฝ่ายหนึ่ง ทั้งนี้ เพื่อตั้งคำถามกับจริยธรรมการเป็น “ผู้เล่า” โดยเฉพาะอย่างยิ่งบทบาทการเป็นผู้เล่าของสื่อในสังคมปัจจุบัน
ในกระบวนการพัฒนาบทละคร  ผู้วิจัยได้นำบทละครซ้อนละครที่สร้างสรรค์จากการศึกษาวิเคราะห์ ไปสร้างเป็นการแสดงร่วมกับคณะละครแปดคูณแปดเพื่อเก็บข้อมูลจากผู้กำกับและนักแสดง จากนั้น จึงได้ทำการนำเสนอบทละครผ่านการแสดงซึ่งอยู่ในกระบวนการพัฒนาสร้างสรรค์เพื่อเก็บข้อมูลจากผู้ชม  บทละครมีความยาวประมาณ 1 ชั่วโมงในการนำเสนอการอ่านบทเมื่อวันที่ 23-26 กันยายน  2554 ณ ศูนย์ศิลปการละครสดใส พันธุมโกมล คณะอักษรศาสตร์ จุฬาลงกรณ์มหาวิทยาลัย  โดยมีการสนทนาหลังจบการแสดงร่วมกับผู้ทรงคุณวุฒิทั้งสายวิชาการ สายวิชาชีพ และผู้ชมทั่วไป

“This is an extremely bold attempt to investigate the cultural history of imagination in a European context and to analyse the cultural enactment of imagination in dramatic texts as potential performance. As a concept imagination is more often assumed than actually investigated or historicised, both which  this study very definitely does.” (Christopher Balme, Chair of Theatre Studies at LMU Munich, Germany)

This book is the first comprehensive analysis of the fascinating and strikingly diverse history of imagination in the context of theatre and drama. Key questions that the book explores are: How do spectators engage with the drama in performance, and how does the historical context influence the dramaturgy of imagination? In addition to offering a study of the cultural history and theory of imagination in a European context including its philosophical, physiological, cultural and political implications, the book examines the cultural enactment of imagination in the drama text and offers practical strategies for analyzing the aesthetic practice of imagination in drama texts. It covers the early modern to the late modernist period and includes three in-depth case studies: William Shakespeare’s Macbeth (c.1606); Henrik Ibsen’s A Doll’s House (1879); and Eugène Ionesco’s The Killer (1957).

I had purchased my ticket to Matthew Lopez’s The Inheritance (Part One) the night before, but cautiously. The show was scheduled to end its Broadway run soon and Covid-19 was looking ever more unpredictable. For both reasons, I wagered the March 10 matinee was probably going to be my last chance to see the production. Italy had just gone into national lockdown on March 9. Neither I nor any of my loved ones had begun stockpiling masks or hand sanitizer yet. Still, when deciding whether to traverse Manhattan by cab or subway that day, I opted to walk, just to minimize risk where I could.

‘I didn’t anticipate that INDECENT would be as relevant today as it is; we again are witnessing an upheaval of fear, xenophobia, homophobia, and yes, anti-Semitism. […] We must remember where the closing of borders in the 20th century led nations around the globe. […] Theatre is living memory.’ –Paula Vogel, Playbill

First performed in 2015, Paula Vogel and Rebecca Taichman’s Indecent tells the story of the Yiddish play God of Vengeance by Sholem Asch, from its beginnings in the theatres of turn-of-the-century Eastern Europe to its scandalous downfall in 1920s New York. Director Taichman and writer Vogel developed this project together, aiming to tell the story of the play (censored for its depiction of the first lesbian kiss on an American stage) and also to reflect the rise of populism, racism and anti-immigrant sentiment today.

In contrast to its contemporary, the Broadway hit Hamilton, Indecent does not champion the narrative of America as a country where the success of immigrants is merely a question of perseverance; it problematizes ideas such as assimilation, acceptance and achievement by confronting the audience with the xenophobia, anti-Semitism, and homophobia of the early 20th century. Indecent is told from the perspective of an Our Town-esque stage manager figure looking back on his life from within the Łódź Ghetto; the metatheatricality of the play-within-a-play conceit allows the piece to reflect the changes in the socio-political landscape occurring during the creation and production of the show, from the Obama to the Trump Administration.

This paper was presented at the American Dramaturgies for the 21st Century conference at Université Paris-Sorbonne, March, 2018.

En el siguiente trabajo me ocupo de contrastar la idea de lo trágico en El último fuego de Dea Loher (2008) a partir de los trabajos de Albin Lesky y Nietzsche. La relación “comunidad” y “visión trágica” es explorada, criticada y reactualizada desde la contemporaneidad en la obra de Loher.

In order to discern the starting point of drama of each society, there is a need to trace the time when such a society starts developing. As evident from what scholars examined, passing through cultural anthropology, there were certain hypotheses that were able to broadly theorize the emergence of drama. This paper attempts to review accounts for the foundation of Hausa drama by dwelling on its origin via ritual conventions and traditional ceremonies. It also identifies types of Hausa drama and its wider significance not only for literature but for various inter-disciplinary fields.

Las obras que integran el libro, presentadas por orden de aparición, son las siguientes: "Cuatro versiones del hecho", una pieza compuesta por cuatro largos e intensos monólogos que apelan fuertemente a la interacción con el público, escrita durante el verano de 2007.
"Memory Test", del año 2002, surgió primero como obra teatral y más tarde tomó la forma de un guión cinematográfico protagonizado por sólo dos personajes, un hombre y una mujer, quienes elaboran un suceder de abúlicos días dedicados a jugar un extraño juego: el mismo que da nombre a la obra. "Párpados", el monólogo de una voz, que apela a una segunda persona ambigua e indeterminada entre intervalos de luz y oscuridad, fue escrita en 1999, durante los años iniciales de su formación como dramaturgo. "Una Pena (Muerte en Retiro)", que surgió en el año 2000, está ambientada en la estación de Retiro de la Línea C de Subterráneo en la ciudad de Buenos Aires. "Silencio todo el tiempo" fue escrita en su mayor parte durante el 2001, y nuevamente corregida en el 2009, en ocasión del rodaje de un cortometraje basado en la obra, con el aporte de los actores Silvio Bertero y Flavia Sinsky, quienes protagonizaron el film. Nos encontramos nuevamente, con un hombre y una mujer, los silencios, las palabras y muy especialmente la música abarcando por completo el universo de la obra.

Written for 'Women, Collective Creation and Devised Performance' (Kathryn Mederos Syssoyeva and Scott Proudfit, eds), this chapter explores concepts of writing and authorship in the work of Monstrous Regiment, focusing particularly on the ways in which collaboration, the writer’s role and notions of authorship evolved throughout the processes of making Scum and Vinegar Tom, their first two productions. Although the company’s approach to writing and devising changed throughout their history, the methodological shift between these first and second productions was useful for company members in terms of negotiating a rough model of working with writers. This chapter demonstrates how this shift became symbolic of the change that ultimately occurred between the 1970s, when Monstrous Regiment utilised processes that were more influenced by devising, and the 1980s and 90s when they produced more singly-authored, commissioned work.

ABSTRACT
Focalization is a central concept in literary narratology and in film narratolgy. 
Since narratology and theatre are historically in opposition, the concept of focalization is rarely used in theatre studies.
Focalizing Bodies: Visual Narratology in the Postdramatic Theatre sets out to explore concepts of focalization and visual narration in a medium which historically has been rejected from the narratological discourse, based on the observation that trends of the 2nd half of the 20th century, namely the postdramatic theatre and the performative turn, allow a reconsideration of that historical opposition.
Through an inter-medial reading, linking film and literary theory, the author explores the potential of the post-dramatic performer in its corporeal presence to operate as a focalizer. Departing from the concept of focalization in literary narratology and transforming this concept into a visual device, the author introduces the notion of the body as a visual narrator and focalizer.
The thesis is relying on two central narratology theories:

a) Narratologist Mieke Bal who defines narrative as structured by three layers: text-story fabula and their three agents: narrator-focalizer-actant. Bal defines focalization as “the relation between ‘who perceives’ and what is perceived”, a function which “colors the story with subjectivity”.
b) Borrowing central literary narratology concepts from Bal, film narratologist Peter Verstraten defines the visual narrator in film as a narrative agent responsible for selecting who or what will be seen, in which location, in which lighting, etc. The assumption is that what is shown in the film is never neutral but already an interpretation of this agent.

Both theorists agree that the narrator's identity is dependent on the medium in which it operates, a statement leading to the central question of this thesis: what is the potential of the performer's body to serve as focalizer and visual narrator?
Following Hans Belting’s essay Image, Medium, Body: A New Approach
to Iconology this MA thesis explores the potential of the performer's body to perceive and produce images, similar to the function of the camera in film as visual narrator in both the external and internal focalization levels.

Through the analysis of three postdramatic theatre performances the author demonstrates various focalization strategies by the performer's body:
a) Visual narration and external focalizer creating verbal images, much like a camera: perceiving (eyes, brains) and transmitting verbally (tongue, throat, voice).
b) Internal focalization through the use of one body for both the focalizer and the focalized, and the constant shift of the performer from one position to the other.
c) Ambiguous focalization through a specific positioning of the body in space in relation to the audience.

The theoretical framework as outlined in this MA thesis can provide theatre practitioners with a useful vocabulary to discuss their intentions, goals and strategies.
Yet limited to the performer’s body and to focalization in the post-dramatic theatre, this research has the potential to be developed further into a comprehensive theory
of Performance Narratology.

“Viaje de invierno. Estas nueve piezas de Maximiliano de la Puente forman – sí – un viaje de la noche hacia la noche sonidos exactos de unos pasos titubeantes sobre una superficie en tinieblas nada parece suceder y – sin embargo - todo se desmorona. En tiempos en donde la anorexia no sólo parece atacar los cuerpos sino también las emociones y el centro mismo de cualquier deseo, este conjunto de obras pareciera querer resistirse al inefable signo de la época”. Extracto del Prólogo de Alejandro Tantanian  "Caen pájaros literalmente del cielo" es un libro del dramaturgo y director teatral Maximiliano de la Puente, que reúne una selección de nueve obras teatrales de su autoría, escritas en un período que abarca desde 1999 a 2008.

Κωνσταντίνος A. Δημάδης (επιμ.), "Συνέχειες, ασυνέχειες, ρήξεις στον ελληνικό κόσμο (1204-2014): οικονομία, κοινωνία, ιστορία, λογοτεχνία",  Πρακτικά Ε΄ Πανευρωπαϊκού Συνεδρίου Νεοελληνικών Σπουδών της Ευρωπαϊκής Εταιρείας Νεοελληνικών Σπουδών (Θεσσαλονίκη, 2-5 Οκτωβρίου 2014), τόμ Β΄, Κωνσταντίνος Α. Δημάδης επιμ., Ευρωπαϊκή Εταιρεία Νεοελληνικών Σπουδών, Αθήνα 2015, σσ. 315-327.

In this chapter, David Crespy shares his dreamwork for dramatic writing workshop that he has taught through such venues as the Association for Theatre in Higher Education, the Mid-America Theatre Conference, the International Association for the Study of Dreams, Hollins University PlayLab, and the Kennedy Center American College Theatre Festival. The work here focuses on dramatic writing , but the notion of the dream cache is useful to any storyteller looking for a creative method to innovate their story technique. Using the lens of phenomenology, and techniques suggested by performance theorist Bert O. States, Crespy attempts to "unmask" the way dreams and fiction interact for the playwright or screenwriter. Dreams offer an unlimited supply of ideas, form, technique, and structure for writers who are trying to surprise themselves out of clichés received from the echo chamber of Broadway and Hollywood. This form of dreamwork is about transforming as a storyteller and changing one's ideas about what makes an adventurous tale.

The Nucleus of Arts, Languages and Subjectivities (NALS), located at
Education Faculty, in the Federal University from Pelotas (UFPEL), Southern Brazil, develops many activities in education, extension, and
research. The Project “Landless Daisies” consists in the production of a
theatre play with students from post-graduation and graduation together
with some artists in the city Pelotas/RS, Southern Brazil. The playwriting
tells about life histories and reports from women who are from the Landless Movement, in Brazil. The main focus of interest of this play shows the importance of women in this Movement and gender discussions in general society. The NALS develops its activities based on principles of Border Pedagogy and Aesthetic of Ginga. By doing works based on these principles, the members of the NALS can put on a practical level what is indicated in the theoretical presuppositions.

The quest to bring education to global standard and for it to compete favourably in the international space remains a challenge in today's Nigeria. Theatre Arts as a discipline accommodates all ideas that make society functional, because it is progressively becoming a more functional tool for sensitisation, and mobilisation and thus, resulting into massive development. Theatre-for-Development (TfD) is an aspect of theatre which is highly applied in solving societal problems. TfD however applies the interventionist approach in sensitising and conscientising the people; nevertheless, it is anchored on the search for appropriate means of addressing the issue of industrial disharmony in Nigeria especially between ASUU and FGN. Consequently, advocacy crusade which is more fashionable and focal in social engagement and critical discourses has emerged in scholarship more than ever as an alternative forum for community dialogue and action. The aim of this study is to address the issue of industrial disharmony in Nigeria especially between ASUU and FGN using "Gbuji" TFD workshop experience. Hence, it will encourage collective participation in decision making with the use of "Gbuji" production workshop. The realities of the state of Nigerian universities are pressing demands for all hands to be on deck in order to get it redeemed. The study interrogates the use of strike actions by ASUU in confronting the Federal Government of Nigeria on issues that affect the Ivory Tower. This study adopts Paulo Freire's "Teaching Theory" (Critical Pedagogy)". This research discovers that theatre can always be taken as an alternative means of conflict resolution. "Gbuji" graphically demonstrated efficient and effective ways of attaining peaceful resolution between the ASUU and FGN without any blood bath or closure of the universities for a second. The research therefore recommends that henceforth Nigerian government should take the issue of funding university education seriously, as constant nose-diving of her budgetary provisions in this sphere will forever portend doom.

«Karagkiozis performers of Solea:
Th. Themistokleous, A. Kokonas, G. Idalias»

Shadow Theatre (“Karaghiozis”) in Cyprus is a quite intriguing field for researchers, due to its geographical position and its particular political-social situation. Questions as “dialogue” between Greek-Cypriots or Turkish-Cypriots and Greeks, Turks and even Arabs shadow puppets performers, seek for answers.
This essay is focused on the connection between three Greek-Cypriots neighboring (Nicosia ’s district) performers, mirrored in their archives: A. Kokonas (from Tembria), Th. Themistokleous (from Kakopetria), G. Idalias (from Nikosia, Korakou).
It is acknowledged that each’ s development was mainly determined by factors as social-family environment, educational level, family status, financial security, friendship or collaboration with other performers/designers, individual talent and style.
In addition to that, it is shown what kind of models were followed, how these three performers depended on each other and up to what level did they intercourse.

The concept of writing in all its ramifications has remained pivotally significant in the process of documentation, from the antediluvian to contemporary times. This is asserted on power, prowess, and flexibility of the playwright in carefully adapting his environment and mirroring it satisfactorily. This paper examines the art of playwriting as a medium of adaptation of the society holistically and narrowing it to the influence of social media (Facebook and WhatsApp) on the English language in making modern plays. In the process of interacting with people from different educational and societal backgrounds, social media platforms have influenced their use of the English language and as such, the playwright captures them. This paper through the content and data analysis examines the influence of Facebook and WhatsApp on the English language in playwriting processes in particular and the society at large. This paper hinges on Ludwig Wittgenstein's "Use Theory" and Aristotle's mimetic wisdom theory as its theoretical fibre. This study through three Facebook groups and three Whatsapp groups provides an understanding of budding playwrights' experiences of using Facebook and WhatsApp and their view on how it affects their writing of plays in flexible English language. The paper recommends that budding and experienced playwrights should flexibly adapt the nuances of social media to stay germane, focus, and creative in the contemporary theatre industry and advance the craft of playwriting in mirroring the society.

Oyun yazarlığı 2500 yılık bir tarihe sahiptir, fakat ilgili akademik eğitimin tarihi ancak 100 yıllıktır. Lisans düzeyindeki ilk dramatik yazarlık dersleri 1905’te Harvard Üniversitesi’nde, 1925’te Yale Üniversitesi’nde verilmiştir.Ardındanfarklıüniversitelerdeçeşitlikademelerdedramatikyazarlıkeğitimiyaygınlaşmıştır.Türkiye’de ise ilk oyunyazarlığıeğitimi1964’teAnkaraÜniversitesi’nde,1976’daEgeÜniversitesi’ndebaşlamış,bugün yedi üniversitede sürdürülmektedir.Türkiye’de dramatik yazarlık eğitimi programlarının değerlendirilmesi vegeliştirilmesi için önerilerüretilmesibağlamındabirçalışmabulunmamaktadır.Bununlabirlikteyurtiçi ile yurt dışındakieğitim programlarını karşılaştırılmalı olarak ele alan biraraştırmaya da alan yazın taraması sonucunda rastlanmamıştır. Bir bilim alanında yürütülen eğitim programlarının geliştirilebilmesi için farklı programların kapsamlarınıincelemek,tartışmayaaçmakönemlivegereklidir.Buyönüyle araştırmamızın alan yazına katkı sağlayacağınainanılmaktadır.Buaraştırmanınamacı,Türkiye’deveABD’desürdürülendramatik yazarlık/oyun yazarlığı eğitim programlarınınkarşılaştırılmalı olarak incelenmesidir. Araştırmanın kapsamını, Türkiye’de ve ABD’de dramatik yazarlık eğitimini aktif olarak sürdüren üniversitelerin 2018-2019 eğitim/öğretim yılı verileri oluşturmaktadır. ABD, dramatik yazarlık eğitiminin lisans düzeyinde verilmeye başlandığı ilk ülke olduğu için seçilmiştir.Buçalışmabirprofilçıkarmaçalışmasıdırveyöntemolarakkarşılaştırmalı eğitim araştırmalarında kullanılanyatayyaklaşımbenimsenmiş,nitelaraştırmayöntemlerindendokümanincelemeuygulanmış,farklılıklar program seviyesi,kontenjanları,giriş ve mezuniyetkoşulları,zorunlu ve seçmeliderslerbağlamında sunulmuştur.

El libro que el lector tiene en sus manos, reúne una selección de cuatro de las obras teatrales más significativas de Maximiliano de la Puente. Acá y allá, la obra que abre el volumen, ha obtenido el Primer Premio Municipal de Literatura, Teatro y Música de la Ciudad de Buenos Aires. Narra la historia de un hombre y la relación que mantiene con su única hija a través de los años. El padre, quien ha tenido que emigrar a un país muy lejano, le envía cartas a su hija para paliar su ausencia. Durante su infancia y su adultez, la hija le responde del mismo modo. Así establecen una correspondencia escrita a lo largo de un tiempo indeterminado. El relato confuso, cambiante y contradictorio que el padre elabora para su hija nos hace dudar acerca de cuál es la realidad que vive en ese fantástico, lejano e innominado país foráneo.  Boris, la segunda obra de este libro, aborda el vínculo ambiguo y contradictorio entre dos hombres encerrados en una habitación. Jamás sabremos quién es la víctima y quién el victimario en esta comedia no exenta de humor negro, inspirada en el universo narrativo del film noir y las novelas de Raymond Chandler.
Boris o la amarga historia de una vida en el teatro, la tercer obra de este libro, obtuvo una mención en el Concurso Obras Inéditas de Teatro 2015 del Fondo Nacional de las Artes. Esta obra es una posible versión en clave biodramática del fallido intento de montaje de Boris, que fue llevada infructuosamente adelante por el propio autor y por su actor fetiche, Sebastián Saslavsky, ambos protagonistas excluyentes de este texto. Una hilarante reflexión sobre el estado de las artes escénicas en la Ciudad de Buenos Aires, en la que prima una mirada burlona, socarrona y muy impiadosa en su acontecer autobiográfico. Finalmente, Diagnóstico: rotulismo, ganadora del Primer Concurso de obras teatrales de Konex-Argentores, relata la historia de dos pacientes que sufren una enfermedad lingüística de origen desconocido: el rotulismo. Ambos son atendidos por la misma profesional: una mujer muy seductora. La cura jamás tendrá lugar. Los límites entre lo personal y lo profesional se borran en esta sesión de foniatría interminable.

The master’s thesis “Mythopoetics in the early plays of Jordan Plevneš” comprises interpretations of the plays of the Macedonian writer Jordan Plevneš, which point out to the mytopoetics system formed in his early creative phase.

In the first part, the pre-apocalyptic predictions in the drama world of Plevneš are presented, as well as his dramaturgical efforts for politically engaged theatre and his poetics in the Balkan theatrical context.

The second part observes the five early plays of Jordan Plevneš: “Erigon”, “Mazedonische Zustände”, “Yu-Antithesis”, “R” and “Free Hunt”, with all of their mythopoetical elements and features. In the analysis of the dramatic pieces, special emphasis is given to the mythopoetic recognition of: the pathos, the double and the shadow, the animalism and the grotesque, the mirror principle, the Hamletian acting, the poetics of dream, the metaphors of birth /death and the symbolism of birds.

The third part consists of insights through which Plevneš’s dramatics, as a continuation of the European postmodernism, enables dialectical modelling of a new, our mythopoetic sphere.

Considering the timeless significance of the dramatic pieces of Jordan Plevneš with open opportunities for staged performances, we hope that this thesis is an appropriate contribution to the study of phenomenology of the new Macedonian dramatic literature.

"In an imaginary space of expiation, punishment and mainly self-punishment six characters, under strict surveillance, retrace their stories and their ‘sins’ which are all related to the expression of desire. Specifically, the typology of the characters of the play (Bodyguard, Bodybuilder, Anorexic, Dominatrix, the Priest) which makes them paradigramic but not unhistorical, is connected to universal kinds of repression or self-willed control of a bodily desire but also to the expulsion from the assumed normal (body).

The condition within which these characters are placed, angel-state, is an existential condition of «being», which is transformed dramaturgically into an ambiguous, border space of an existential state of suspension (a laboratory-prison cum Purgatory, where the characters of the play act confessionally under the constantly watchful eye of the controlling authorities which historically produce obedient bodies and entrenchment  ).  As a result, these types become dramaturgical beings, reliving their endogenous weaknessess and contradictions (always in connection with a social rule) way beyond the everyday. Angel-state is primarily a situation of coming-into-being/self-realisation, but also of a reconstitution of the boundaries of desire for those willing to perform the transition to a new personal structure (of exoneration and refusal of previous guilt). "
George Sabatakakis, Senior Lecturer, University of Patras, Greece.

Kalmar wasan kwaikwayo ta zo cikin harɗaɗɗen suna wato wasa da kuma kwaikwayo, wanɗanda suka haɗu suka tayar da wasan kwaikwayo. Kalmar wasa, a cewar Qamusun Hausa na CNHN (2006:470), na nufin aiwatar da wani abu don raha ko nishaɗi; ko kuma yin wani abu wanda ba gaske ba. Waɗannan ma'anoni da aka ayyana kalmar wasa na da matuƙar tasiri wajen bayyana ma'anar wasan kwaikwayo. Ita kuwa kalmar kwaikwayo, a cewar Qamusun Hausa na CNHN (2006:260), na nufin kwatanta yin wani abu da ya taɓa faruwa a zahiri; ko koyon wani abu da wani ya yi, ko yake yi. Saboda haka, idan aka haɗa kalmar 'wasa' da 'kwaikwayo' sun zama kalma guda ɗauke da ma'ana guda wato wasankwaikwayo.

2022, ePlay: BIO CLOCK
Author: Eva Kamchevska
Edition: Theater and Performing Arts
Cover Illustration: Ivana Kungulovska
Editor/Designer: Ivanka Apostolova Baskar
Publisher: Macedonian Center ITI/PRODUKCIJA, Skopje
Year: 2022
Language: English
Pages: 94
Copies: 500
ISBN 978-608-4912-98-9
COBISS.MK-ID 56241413
Supported by Ivana Kungulovska (Cover Illustration)
VIDEO (Mihailo Apostolov - editing). https://www.youtube.com/watch?v=aJ7YqjIDh4I&t=2s
Link. https://www.facebook.com/media/set/?set=a.4573049222731929&type=3

How do we as writers resist the dominance of narratives dictated primarily by a market mentality and/or assumed homogeneity? In this paper, Nina Rapi, will explore how certain theatre practitioners, e.g. Howard Barker, Debbie Tucker Green, Sarah Kane, have resisted dominant narratives and created oppositional aesthetics, through stylistic/thematic choices and/or foregrounding cultural identity. N.R. will also refer to her own work.

The concept of playwriting and the playwright have remained invaluable assets to the theatre industry across the ages. This is premised on its documentation power and critical disposition that have not only crated the mirror for the society but also a resource material for the different collaborators in the theatre. This paper examines the art of playwriting as a medium of criticism and the place of the playwright as a critic using Alex Asigbo and his plays. The paper through the content analysis and literary methods observe that what stands Alex Asigbo as a distinguished playwright among his peers is his unique approach of crafting plays that are not just for entertainment and pedagogy but magnum opus that are embodiment of criticisms on the playwriting processes in particular and the society at large. His technique is thereby encouraged to be maintained while calling on budding playwrights to emulate this unique approach in other to remain relevant and creative in the theatre industry and improve the craft of playwriting and the society

This chapter explores the evolving notion of writing and authorship in the work of the all-female collaborating theatre company Monstrous Regiment, looking particularly at the way in which authorship shifted between the process of making their first production, Scum: Death, Destruction and Dirty Washing (1976), scripted by Chris Bond and Claire Luckham, and Vinegar Tom (1976), scripted by Caryl Churchill. This chapter analyzes the ways in which Monstrous Regiment conceived of the writer’s role in their productions and the ways in which the politics of gender influenced their collaborative theatre-making processes. It examines the company’s work against the backdrop of the Women’s Movement in the UK in the 1970s with respect to gender politics and the emergence of the female voice through writing and collaboration.

In this chapter, David Crespy shares his dreamwork for dramatic writing workshop that he has taught through such venues as the Association for Theatre in Higher Education, the Mid-America Theatre Conference, the International Association for the Study of Dreams, Hollins University PlayLab, and the Kennedy Center American College Theatre Festival. The work here focuses on dramatic writing, but the notion of the dream cache is useful to any storyteller looking for a creative method to innovate their story technique. Using the lens of phenomenology, and techniques suggested by performance theorist Bert O. States, Crespy attempts to “unmask” the way dreams and fiction interact for the playwright or screenwriter. Dreams offer an unlimited supply of ideas, form, technique, and structure for writers who are trying to surprise themselves out of cliches received from the echo chamber of Broadway and Hollywood. This form of dreamwork is about transforming as a storyteller and changing one’s i...

[CONSTANTINOU H., A., Κ. DIAMANTAKOU, L. GALAZIS (ed.) (2020). Theatre in modern and contemporary Cyprus. Conference Proceedings. Herodotos-Cyprus Theatre Museum, Athens].
Ο τόμος αποτελεί τα πρακτικά του ομότιτλου επιστημονικού συνεδρίου, το οποίο πραγματοποιήθηκε στη Λεμεσό το τριήμερο 30 Οκτωβρίου έως 1 Νοεμβρίου 2015 και συνδιοργανώθηκε από το Θεατρικό Μουσείο Κύπρου, τον Δήμο Λεμεσού, τον Θεατρικό Οργανισμό Κύπρου και το Πολιτιστικό Ίδρυμα της Τράπεζας Κύπρου, με τη στή¬ριξη του Μεταπτυχιακού Προγράμματος «Θεατρικές Σπου¬δές» του Ανοικτού Πανεπιστημίου Κύπρου. Το συνέδριο, σύμφωνα με τον Βάλτερ Πούχνερ, «ήταν, από μια ιστορική οπτική γωνία, κάτι σαν καταστατική πράξη μιας ξεχωριστής κυπριακής Θεατρολογίας». Τριάντα οκτώ (38) επιστημονικά άρθρα δημοσιεύονται στον τόμο, τα οποία εστιάζουν στο θέατρο στην Κύπρο ή σε Κύπριους καλλιτέχνες, με το φάσμα των θεματικών να εκτείνεται από την κυπριακή θεατρική γραφή στον διάλο¬γο μεταξύ κυπριακού και νεοελληνικού θεάτρου, στην πρό¬σληψη του αρχαίου δράματος, στη σκηνοθεσία και την πα¬ράσταση έως και τη θεατρική δραστηριότητα σε συνάρτηση με την κοινωνία και την πολιτική.
Συμμετέχοντες/ουσες συγγραφείς: Μαρίνα Αθανασίου, Βασιλική Ανδρέου, Ζωή Βερβεροπούλου, Λεωνίδας Γαλάζης, Κωνστάντζα Γεωργακάκη, Αντώνης Γεωργίου, Βαρβάρα Γεωργοπούλου, Ελένη Γκίνη, Καίτη Διαμαντάκου, Ελένη Δουνδουλάκη, Αγγελική Α. Ζάχου, Μαγδαλένα Ζήρα, Σωτήρης Θεοχαρίδης, Χριστιάνα Καραγιάννη, Κώστας Καρασαββίδης, Κατερίνα Καρρά, Στυλιανή Κεραμίδα, Νεοφύτα Κυπριανού, Άγγελος Κυριακούδης, Αγγέλα Κωνσταντινίδου, Άντρη Χ. Κωνσταντίνου, Γιάννης Λεοντάρης, Σάββας Πατσαλίδης, Κυριακή Πετράκου, Ελένη Πετρίτση, Βάλτερ Πούχνερ, Κωνσταντίνα Ριτσάτου, Αύρα Σιδηροπούλου, Ασπασία Σκουρουμούνη Σταυρινού, Μαρία Ανδρ. Σπυροπούλου, Χρυσόθεμις Σταματοπoύλου-Βασιλάκου, Παναγιώτα Σωτήρχου, Σοφία Φελοπούλου, Μαρία Χαμάλη, Αιμίλιος Χαραλαμπίδης, Ευσεβία Χασάπη-Χριστοδούλου, Ανθή Γ. Χοτζάκογλου, Χριστάκης Χριστοφή, Έλενα Χριστοφόρου.

The injurious consequences of bad government in most African States cannot be overstressed. The sad realities are reflective in Nigeria body politic; which is characterized by maladministration, vicious economic recession, electoral manipulation, armed insurgencies, terrorism, insecurity, poverty, internal displacements, violence and deaths. Thus making Nigeria look like a failed state. This paper therefore reassesses the effects of bad governance on Nigeria using Henry Leopold's two short plays: Hidden Treasure and Ube Republic as moral critique of the unwholesome state of affairs in Nigeria. Utilizing Vilfredo Paretso's Political Elite Theory as theoretical framework the paper avers that some unscrupulous Nigerian politicians pursue their cause with desperation and egocentrism devoid of democratic ideals. This paper finds the need to engage in a contextual reading of Henry Leopold Bell-Gam's play-texts; The Hidden Treasure and Ube Republic as a moral compass to negotiate the anomie in the country. The findings reveal that the failure in government has led to disillusionment and apathy with deleterious consequences, such as violent crimes and militancy and kidnap for ransom. The paper recommends that Nigeria urgently needs detribalized and democratic political leadership to transcend the hoi polloi to a peaceful and egalitarian society where everyone would be proud of. And Nigeria can rightfully take its place in the comity of developing states.

This is a one-act play — an ironically humorous fantasy melodrama
on differing views of appropriate curriculum. It is set in an adult-upgrading classroom (sponsored by a city college) set on a western Canadian Indigenous reservation. One of the lead characters is the great White Buffalo in somewhat human form.