Théâtre et presse, de 1590 à 2017 by Michael Palmer

“…He occasionally refers to the context in which the plays were produced and concludes with a question as to why, in recent decades, French playwrights have neglected the press as a theme in their works.…”
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L’auteur dramatique plaidera coupable by Delphine Aebi

“…The years 1940 to 1960 are for France a period of crisis; the political and social context is conducive to thought of the judgment. Many playwrights consider the relationship with their audience similar to those that are established between the accused and the judge. …”
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La contrainte comme artifice sur la scène anglaise contemporaine : Tom Stoppard, Martin Crimp, et Caryl Churchill by Élisabeth Angel-Perez

“…It will be my contention here to demonstrate that the literary constraints summoned by Crimp or Kane, these rules or patterns artificially forced on the text from an exterior stance, enable these playwrights to open the breach for a new tragic place within the text.…”
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Le détournement du genre policier sur la scène anglaise contemporaine : One Minute (2003) de Simon Stephens et Orphans (2009) de Dennis Kelly by Aloysia Rousseau

“…There are no answers offered in Kelly’s and Stephens’ plays and violence is relegated to the offstage. These two playwrights are thus reinventing a genre, subverting the codes of both traditional detective fiction and the thriller. …”
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Carol Ann Duffy’s Everyman (2015), A Contemporary Morality Play by Esma Seçen Hınıslıoğlu

“…A myriad of philosophers, writers and playwrights from various societies has tried to establish moral codes of conduct that individuals must obey in order to lead them to a better world. …”
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Réécriture des pièces de Shakespeare : l’enjeu de la modernité ? by Estelle Rivier

“…Shakespeare’s works remain a reference when artists — either playwrights or stage professionals — aim at philosophising on human nature. …”
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Looking into the attribute of transcendent genius: George Henry Boker and Robert Conrad’s use of Shakespeare by Ronan Ludot-Vlasak

“…This article explores the literary responses of two nineteenth-century American playwrights to Shakespeare: Robert Conrad (1810-1848) and George Henry Boker (1823-1890). …”
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Allured by Satan, the World and the Flesh: Representations of Temptation in Medieval English Drama by Pınar Taşdelen

“…Accordingly, this article aims to analyse the dramatic representations of the temptations by medieval playwrights with references to specific mystery and morality plays in order to reveal how spiritual and earthly temptation is handled in the plays. …”
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La contribution d’Antonio Buero Vallejo au théâtre de science-fiction espagnol by Miguel Carrera Garrido

“…Building on both types of work, this article wants to claim the contribution to the genre of one of the most important Spanish playwrights of the twentieth century: Antonio Buero Vallejo. …”
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Witnessing Trauma in Simon Stephens’ Motortown by Mesut Günenç

“…Simon Stephens is one of the most important contemporary playwrights whose popularity spreads out both Britain and continental Europe. …”
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Migraciones estéticas en el primer teatro modernizador argentino: Henri-René Lenormand - Roberto Arlt by Grisby Ogás Puga

“…This article employs a comparative lens to analyze the migration of the Lenormandian dramatic model in the work of Roberto Arlt: one of Argentina’s key modern playwrights responsible for introducing changes and innovations that helped pave the way for the theatrical neovanguardia that erupted in Argentina during the sixties. …”
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Historical Topicality in Arnold Bennett and Edward Knoblock’s Milestones by Lukas Klik

“…Moreover I also consider these references in the context of the aim of the playwrights in writing the play more generally. Here, I suggest that the topical allusions serve to underpin the play’s main point about the necessity to accept change, especially with regard to the role of women, by illustrating the inevitability of change. …”
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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. …”
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Politics, Incarceration, and Innocence in Harold Pinter’s One for the Road and Melih Cevdet Anday’s İçerdekiler by Murathan Gündoğdu

“…In the second part, this study compares the two plays mainly in terms of their treatment of oppression and acts of cruelty against innocent individuals, concluding that the plays show similarities as both playwrights manage to demonstrate a universally horrifying picture of incarceration.…”
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L’Angleterre et l’Écosse au miroir de la fureur : L’Écossaise d’Antoine de Montchrestien et Marie Stuard de Charles Regnault by Frédéric Sprogis

“…Lastly, the issues at stake are of a hagiographic nature, as French playwrights celebrated the Catholic Queen as the innocent victim of the executioner that Elizabeth I had become.…”
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Insurrection and Integration: The Indian “Mutiny” of 1857 and the Theatrical Renegotiation of Ethnic Alterities by Marty Gould

“…In the face of this colonial rebellion, British playwrights produced images of metropolitan cultural consolidation, mobilizing Scottish characters to forge a broader, Celtically inflected British identity that ideologically aligned the people of England and Scotland in clear opposition to the mutinous hordes of India. …”
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Biblical Turns of Phrase, Repetition and Circularity in Oscar Wilde’s Salome by Sébastien Salbayre

“…Written in French and translated into English by Lord Alfred Douglas with the help of the author himself at a time when novelists, poets and playwrights celebrated artifice and started revolutionising the forms of their art, Oscar Wilde’s Salome (1893) created a new language and located radical representational possibilities. …”
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The Short Dramatic Form in the Works of Kostas Ostrauskas and Juozas Erlickas by Neringa Klišienė

“…Micro-drama, miniature, one-shot drama, or ‘dramatized’ proverbs and sayings – these are the playwrights’ own denominations indicating a kind of tendency which emerged at the end of the 20th century, or, at least, the search for an original term or word. …”
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‘Laugh a defiance, Laugh in hope’: Suffrage Comedy and Humour as Political Protest by Eleanor Stewart

“…Whilst hostile anti-suffragist discourse accused feminists of lacking a sense of humour, the comedies portray the resolutely cheerful and feisty female activists as agents of humour. By doing so, the playwrights overturn stereotypes and challenge the conventional gender power dynamics of a patriarchal society in which men dictated laughter. …”
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From Komedie Stambul to Toneel: Theatre Arts Development in Batavia, 1891-1942 by Khairana Zata Nugroho, Dhanang Respati Puguh

“…Other theatrical genre known as Indische Toneel, a colonial  theatre created by playwrights of Dutch totok and Indo descent that often held in theatres  in Batavia. …”
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