HOW CHARACTER BUILDING CAN BE INTEGRATED IN THE ROLE PLAY OF THE STANDARD OF COMPETENCY THREE OF THE SOCIAL TWELVE GRADERS by Fadilah Umi Maisyaroh

“…The activity is started by grouping the students and giving each group a topic to be elaborated in a drama script. After the drama script is done, each group is asked to notify the interpersonal and transactional expression related to the given topic. …”
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Une promise pour la licorne : quand Denis Johnston crève l’horizon de la scène irlandaise by Virginie Girel-Pietka

“…He endeavoured to create an original piece of work, breaking away from the realistic drama which prevailed in Ireland at the time. Fraught with mythological references and hazy characters, the play was considered too complicated, even obscure, and vaguely moralistic. …”
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The Auto/biographical Nature of Ukrainian Women’s Literature on the War in Donbas by Anna Gaidash

“…The goal of the study is to analyze how auto/biographical narratives employ actualization of life, leading to the fictionalization of drama and prose texts, which results in heterobiography or synthesis of auto/biographical narratives with heterobiographies. …”
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The Duchess of Malfi de John Webster ou le corps dans tous ses états: « Some said he was an hermaphrodite, for he could not abide a woman » (3. 2. 217-218) by Laetitia Coussement-Boillot

“…Webster’s ambivalent perspective on the body is in keeping with his contradictory attitude toward his artistic medium, drama.…”
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Shakespeare en prison : le cas d’Avignon by Florence March

“…It will first deal with the decisive encounter of Shakespeare’s drama with prison in Avignon’s Papal Palace in 1947 – an encounter that acts as a catalyst for the festival’s ethos and aesthetics. …”
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TRAGIŠKOJO JAUSMO INTERPRETACIJA FRIEDRICHO NIETZSCHE'S FILOSOFIJOJE by Aušra Polovikaitė

“…NIETZSCHE'S PHILOSOPHY Aušra Polovikaitė Summary The article deals with our response to tragic drama as a problem in the philosophy of art. Why do we enjoy the dramatic portrayal of vice, deceit, human corruption, and death? …”
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TRAGIŠKOJO JAUSMO INTERPRETACIJA FRIEDRICHO NIETZSCHE'S FILOSOFIJOJE by Aušra Polovikaitė

“…NIETZSCHE'S PHILOSOPHY Aušra Polovikaitė Summary The article deals with our response to tragic drama as a problem in the philosophy of art. Why do we enjoy the dramatic portrayal of vice, deceit, human corruption, and death? …”
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En Inde, dans les salles de cinéma, les spectateurs sont-ils acteurs ou simples spectateurs ? by Wendy Cutler

“…In order to deal with this question, we propose to study the drama’s audience and Aristotle’s notion of catharsis. …”
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Puentes teatrales, montajes “de ida y vuelta”: argentinos a la conquista de la escena barcelonesa by Sharon G. Feldman

“…Throughout the present decade, a succession of playwrights, directors and theatre artists from Argentina have gone about leaving their imprint upon the Barcelona theatrical landscape (and by extension, that of Catalunya), an artistically fertile ground that, since the 1980s (and since the period of the democratic transition), has exhibited an undeniable yearning to breathe fresh air, to imbue itself with new aesthetic paradigms and become an essential point of reference within the world of European drama. Today Barcelona finds itself immersed in the most dynamic and extraordinary period in its modern theatre history, with an abundant outpouring of new drama and new theatre spaces. …”
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И. Тургенев как протомодернист. Пьеса „Месяц в деревне” в контексте цикла эссе К. Гринберга „Защита модернизма”. Предвестие нового художественного стиля... by Beata Waligórska-Olejniczak

“…The aim of the studies in this article is the comparative analysis of I. Turgenev's drama A Month in the Country and fundamental principles of Greenberg's theory of modernism, the attempt to generate the inner relationships between those two works of art. …”
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Interview with Dirk Maggs, audio dramatist and co-creator of Audible’s The Sandman by Vikram Nijhawan

“…Despite multiple rejections, Maggs persisted in pitching a Sandman radio drama, refining his craft through adaptations of Douglas Adams’ works and Gaiman’s Neverwhere. …”
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UTILIZATION OF FILM GENRE AS PRIOR TEXT STUDY IN TITLE WRITING OF STUDENT CREATIVITY PROGRAM by Nivia Putri Ratna Juwita, Atiqa Sabardila, Markhamah Markhamah

“…Based on data analysis, it can be concluded that the relationship of intertextuality contained in the SCP titles involves three film genres: (1) animation; (2) drama; and (3) horror. The results of this study indicate that the use of film genres of animation and drama genres as reference texts has high appeal in the writing of the titles of SCP …”
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Landschaftsgedächtnis und Geschlechterdiskurse in ausgewählten Werken von Elsa Bernstein und Maria Waser by Monika Mańczyk-Krygiel

“…The end of the drama—a combination of a mythical being after death with a sculpture of the Madonna carved in rock—is usually interpreted as the apotheosis of Christianity and the triumph of a new religion (and thus a new world order) over the pagan world. …”
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A Critical Review of "Theoretical and Practical Bases of Film Music: An Essay on Film Music in the World of Islam" by Hamid Askari Rabori

“…By employing a fresh look, the book investigates the most important elements and instruments in music and drama in the context of "The common Expression Potentially". …”
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Reflection of the Concept of Spivak’s Subaltern in The Nine Parts of Desire by Heather Raffo and Mastaneh, the History of the Forgotten by Naghmeh Samini by Tuba Mozafari nezhad, Esmaeil Najar

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Violence et vision : The Dynasts de Thomas Hardy by Laurence Estanove

“…The Dynasts, Thomas Hardy’s « epic-drama of the war with Napoleon, » is remarkable in its use of poetic and literary stage directions. …”
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O espaço urbano como construção poética do sujeito by Susanna Busato

“…The lyric aspect in the poet’s work is objective and sensitive towards urban scenes in which all the objects play a role as images of the cities’ routine, in which space is performed as the drama of thesubject who sees the scene.…”
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Çocukların Empati Becerilerinin Geliştirilmesine Yönelik Okul Öncesi Öğretmenlerinin Görüşleri, Uygulamaları, İhtiyaçları ve İstekleri by Aysel Esen Çoban, Selda Ata Doğan

“…Araştırma sonucunda öğretmenlerin empati tanımlarınınbilişsel empati boyutunda yoğunlaştığı, çocukların empati beceri gelişimlerini anlamak için en çok davranış gözlemi yaptıkları, hikaye/kitap okuma yöntemini ve drama, rol oynamatekniklerini kullandıkları, daha çok oyun ve drama etkinliklerine yer verdikleri, çocukların bu becerilerinin gelişiminde en önemli etkenin (faktörün) aile olduğunu düşündükleribelirlenmiştir. …”
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