Drama (fictio)

Drama (ex Graeco δρᾶμα 'actio', ex Graeco δράω 'facere, agere') est disertus fictionis modus in perfunctione repraesentatus.^[1] Actio dramatis in theatro, ab actoribus super pulpito ante audientiam collaborativos productionis modos et conlectivum receptionis genus sumit. Structura textuum dramaticorum, aliorum litterarum generum sic dissimilis, ab hac productione conlaborativa et receptione conlectiva recta impellitur.^[2] Hamlet, tragoedia Anglica Gulielmi Shakesperii (1601), et Oedipus rex, tragoedia classicum Athenarum Sophoclis (circa 429 a.C.n.), sunt inter opera artis dramaticae summo artificio facta.^[3] Exemplum hodiernum est Long Day's Journey into Night Eugenii O'Neill (1956).^[4]

Exsecutor partes Sugrivae in Koodiyattam genere theatri Sanscriti agit.

Personae theatris tragoediae et comoediae.

Personae duae cum dramate consociatae usitatam divisionem genericam inter comoediam et tragoediam repraesentant. Quae Thaliam et Melpomenen, Musas Graeciae antiquae, imitantur: Thalia musa comoediae (vultu ridente), Melpomene musa tragoediae (vultu flente). Discrepatus est modus dramaticus, plerumque genus poesis habitus, cum modis epico et lyrico post Poeticam Aristotelis vulgatam (circa 335 a.C.n.)—primum opus theoriae dramaticae.^[5]

Drama saepe cum musica et saltatione coniungitur: drama in opera usitate penitus canitur; ludi musici plerumque diverbium et cantus habent; et in nonnullis dramatis generibus, insigniter inter quae melodrama et Nō Iaponiensi, musica incidentalis vel adiunctio diverbium exornat.^[6] Certis historiae temporibus (in antiquo Romano et hodierno Romantico), nonnulla dramata ad legenda potius in scaena repraesentata scripta sunt.^[7]

Nexus interni

Notae recensere

↑ Elam 1980: 98.
↑ Pfister 1977: 11.
↑ Fergusson 1949: 2–3.
↑ Daniel S. Burt, The Drama 100: A Ranking of the Greatest Plays of All Time (Facts on File, 2008), ISBN 978-0-8160-6073-3.
↑ Franciscus Fergusson Anglice adfirmat "a drama, as distinguished from a lyric, is not primarily a composition in the verbal medium; the words result, as one might put it, from the underlying structure of incident and character. As Aristotle remarks, 'the poet, or "maker" should be the maker of plots rather than of verses; since he is a poet because he imitates, and what he imitates are actions'" (1949:8).
↑ Vide, exempli gratia, "opera," "musical theatre, American," "melodrama," et "Nō" in Banham 1998.
↑ Quamquam historici theatri inter se discrepant, ludi Senecae ad scaenam fortasse non destinati sunt. Manfred Byronianum est exemplum "poematis dramatici." Vide "Seneca" et "Byron (George George)" in Banham 1998.

Bibliographia recensere

Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. ISBN 0-521-43437-8.
Baumer, Rachel Van M., et James R. Brandon, eds. 1981. Sanskrit Theatre in Performance. Delhi: Motilal Banarsidass, 1993. ISBN 978-81-208-0772-3.
Brandon, James R. 1981. Introduction. In Baumer and Brandon 1981: xvii–xx.
Brandon, James R., ed. 1997. The Cambridge Guide to Asian Theatre.' Ed. secunda, retractata. Cantabrigiae: Cambridge University Press. ISBN 978-0-521-58822-5.
Brockett, Oscar G., et Franklin J. Hildy. 2003. History of the Theatre. Ed. nona, ed. internationalis. Bostoniae: Allyn and Bacon. ISBN 0-205-41050-2.
Brown, Andrew. 1998. "Ancient Greece." In The Cambridge Guide to Theatre. Ed. Martin Banham. Cantabrigiae: Cambridge University Press, 441–47. ISBN 0-521-43437-8.
Carlson, Marvin. 1993. Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Ed. augmentata. Ithacae et Londinii: Cornell University Press. ISBN 978-0-8014-8154-3.
Cartledge, Paul. 1997. "'Deep Plays': Theatre as Process in Greek Civic Life." In Easterling 1997c: 3–35.
Duchartre, Pierre Louis. 1929. The Italian Comedy. Reimpressus. Novi Eboraci: Dover, 1966. ISBN 0-486-21679-9.
Dukore, Bernard F., ed. 1974. Dramatic Theory and Criticism: Greeks to . Florentiae Kentukiae: Heinle & Heinle. ISBN 0-03-091152-4.
Durant, Will, et Ariel Durant. 1963. The Story of Civilization, Volume II: The Life of Greece. 11 voll. Novi Eboraci: Simon & Schuster.
Easterling, P. E. 1997a. "A Show for Dionysus." In Easterling 1997c: 36–53.
Easterling, P. E. 1997b. "Form and Performance." In Easterling 1997c: 151–77.
Easterling, P. E., ed. 1997c. The Cambridge Companion to Greek Tragedy. Cambridge Companions to Literature ser. Cantabrigiae: Cambridge University Press. ISBN 0-521-42351-1.
Elam, Keir. 1980. The Semiotics of Theatre and Drama. New Accents Ser. Londinii et Novi9 Eboraci: Methuen. ISBN 0-416-72060-9.
Fergusson, Francis. 1949. The Idea of a Theater: A Study of Ten Plays, The Art of Drama in a Changing Perspective. Princetoniae Novae Caesareae: Princeton University Press, 1968. ISBN 0-691-01288-1.
Goldhill, Simon. 1997. "The Audience of Athenian Tragedy." In Easterling 1997c: 54–68.
Gordon, Mel. 1983. Lazzi: The Comic Routines of the Commedia dell'Arte. Novi Eboraci Performing Arts Journal Publications. ISBN 0-933826-69-9.
Harsh, Philip Whaley. 1944. A Handbook of Classical Drama. Stanford: Stanford University Press; Oxoniae: Oxford University Press.
Johnstone, Keith. 1981. Impro: Improvisation and the Theatre Ed. retractata. Londinii: Methuen, 2007. ISBN 0-7136-8701-0.
Ley, Graham. 2006. A Short Introduction to the Ancient Greek Theater. Ed. retractata. Sicagi et Londinii: University of Chicago Press. ISBN 0-226-47761-4.
Ley, Graham. 2007. The Theatricality of Greek Tragedy: Playing Space and Chorus. Sicagi et Londinii: University of Chicago Press. ISBN 0-226-47757-6.
Pfister, Manfred. 1977. The Theory and Analysis of Drama. Conv. John Halliday. European Studies in English Literature Ser. Cantabrigiae: Cambridge University Press, 1988. ISBN 0-521-42383-X.
Rehm, Rush. 1992. Greek Tragic Theatre. Theatre Production Studies ser. Londinii et Novi Eboraci: Routledge. ISBN 0-415-11894-8.
Richmond, Farley. 1998. "India." In Banham 1998:516–525.
Richmond, Farley P., Darius L. Swann, et Phillip B. Zarrilli, eds. 1993. Indian Theatre: Traditions of Performance. University of Hawaii Press. ISBN 978-0-8248-1322-2.
Spolin, Viola. 1967. Improvisation for the Theater. Ed. tertia, retractata. Evanston, Illinoesiae: Northwestern University Press, 1999. ISBN 0-8101-4008-X.
Taxidou, Olga. 2004. Tragedy, Modernity and Mourning. Edinburgi: Edinburgh University Press. ISBN 0-7486-1987-9.
Weimann, Robert. 1978. Shakespeare and the Popular Tradition in the Theater: Studies in the Social Dimension of Dramatic Form and Function. Baltimorae et Londinii: The Johns Hopkins University Press. ISBN 0-8018-3506-2.
Weimann, Robert. 2000. Author's Pen and Actor's Voice: Playing and Writing in Shakespeare's Theatre. Ed. Helen Higbee and William West. Cambridge Studies in Renaissance Literature and Culture. Cantabrigiae: Cambridge University Press. ISBN 0-521-78735-1.

Nexus externi recensere

Lege de History of Western Theatre: Greeks to Elizabethans in Vicilibris.

Lege de History of Western Theatre: 17th Century to Now in Vicilibris.

Linea temporalis personarum Graecarum et Romanarum, apud www.arlymasks.com

[elam98-1] Elam 1980: 98.

[2] Pfister 1977: 11.

[3] Fergusson 1949: 2–3.

[4] Daniel S. Burt, The Drama 100: A Ranking of the Greatest Plays of All Time (Facts on File, 2008), ISBN 978-0-8160-6073-3.

[5] Franciscus Fergusson Anglice adfirmat "a drama, as distinguished from a lyric, is not primarily a composition in the verbal medium; the words result, as one might put it, from the underlying structure of incident and character. As Aristotle remarks, 'the poet, or "maker" should be the maker of plots rather than of verses; since he is a poet because he imitates, and what he imitates are actions'" (1949:8).

[cgt-6] Vide, exempli gratia, "opera," "musical theatre, American," "melodrama," et "Nō" in Banham 1998.

[closet-7] Quamquam historici theatri inter se discrepant, ludi Senecae ad scaenam fortasse non destinati sunt. Manfred Byronianum est exemplum "poematis dramatici." Vide "Seneca" et "Byron (George George)" in Banham 1998.

[1]

[2]

[3]

[4]

[5]

[6]

[7]