As part of its contribution to the 1951 Festival of Britain, the Arts Council ran what can be seen in retrospect to be an important playwriting competition. Disregarding the London stage entirely, it invited regional ...As part of its contribution to the 1951 Festival of Britain, the Arts Council ran what can be seen in retrospect to be an important playwriting competition. Disregarding the London stage entirely, it invited regional theatres throughout the UK to put forward nominations for new plays within their repertoire for 1950-1951. Each of the five winning plays would receive, what was then, the substantial sum of ~100. Originality and innovation featured highly amongst the selection criteria, with 40 per cent of the judges＇ marks being awarded for ＂interest of subject matter and inventiveness of treatment＂. This article will assess some of the surprising outcomes of the competition and argue that it served as an important nexus point in British theatrical historiography between two key moments in post-war Britain： the first being the inauguration of the Festival of Britain in 1951, the other being the debut of John Osborne＇s Look Back in Anger in May 1956. The article will also argue that the Arts Council＇s play competition was significant for two other reasons. By circumventing the London stage, it provides a useful tool by which to reassess the state of new writing in regional theatre at the beginning of the 1950s and to question how far received views of parochialism and conservatism held true. The paper will also put forward a case for the competition significantly anticipating the work of George Devine at the English Stage Company, which during its early years established a reputation for itself by heavily exploiting the repertoire of new plays originally commissioned by regional theatres. This article forms part of a five year funded Arts and Humanities Research Council （AHRC） project, ＇Giving Voice to the Nation： The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945-1994＇. Details of the Arts Council＇s archvie, which is housed at the Victoria ＆ Albert Museum in London can be found at htto：//www.vam.ac.uk/vastatic/wid/ead/acgb/acgbf.html展开更多
These reflections address the disturbing phenomenon of ＂not knowing what to say＂ to someone who has experienced the immediacy of a traumatic event and who, nevertheless, seeks a word of consolation from us to ease t...These reflections address the disturbing phenomenon of ＂not knowing what to say＂ to someone who has experienced the immediacy of a traumatic event and who, nevertheless, seeks a word of consolation from us to ease the suffering. The author addresses the inadequacy of consolation as mere verbiage, and then brings to mind an expanded understanding of discourse-as-comportment to offer the possibility of deep consolation for the suffering other in the groundlessness of the tragic situation, which the author calls ＂abysmal consolation＂. In the realization that discourse is also the embodied consolation of being-with the suffering other in a shattered lifeworld, both sufferer and carer of souling are freed up to meet each other in a place that was heretofore presumed to be an alienated and speechless place.展开更多
Storytelling is an important performing art. Attracting theater practitioners and audiences are the main targets. Successful narrator communication is one of the biggest challenges even when theatres facilitate commun...Storytelling is an important performing art. Attracting theater practitioners and audiences are the main targets. Successful narrator communication is one of the biggest challenges even when theatres facilitate communication with scenery, lighting and costumes etc., as the performance depends primarily on the text and narrator for successful expression. This study views the most important techniques to create a well-made story at both text and performance levels. The researcher begins differentiating storytelling, imitation and characterization, as this understanding assists the objective of this study, which is to determine specific techniques to achieve successful communication with an audience. This research highlights elements which distort story structure; including immersion in narrative without incident description, identified as the most dangerous element due to description being essential to create suspense.1 Text condensation is also crucial. A good writer uses his pen more for deletion than addition. Repeated reading and deletion to condense the story to its optimal is vital. Also included are techniques for good text rhythm in addition to production of captivating beginnings. Further techniques to raise audience attention in text and event building, as well as to determine conflict and types, narrator language use and the structure of the diagnostic viewer, finally, mastering story ending techniques are provided. At performance level, this research provides techniques in creativity prologue, good story rhythm, body language and eye contact together with prop （object） use; all of which enable the narrator to capture and retain audience attention throughout. This research concludes with recommendations on how to achieve a good storytelling performance.展开更多
This study is about Eugene O＇Neill＇s use of ＂medusation＂ as an effective metatheatrical device and foremost achievement in his art. Occurring onstage as an unexpected ＂anagnorisis＂, the medusation is a traumatic...This study is about Eugene O＇Neill＇s use of ＂medusation＂ as an effective metatheatrical device and foremost achievement in his art. Occurring onstage as an unexpected ＂anagnorisis＂, the medusation is a traumatic experience that engenders ritual death. This author argues that the medusation is a quintessentially metatheatrical act, insomuch as here O＇Neill carries out a commentary on the function and functioning of theatre, through the consciously fictitious events that unfold on the stage. In the ＂Introduction＂, the author reviews its development in O＇Neill＇s plays, from the more traditional melodramatic situations of the early works to the subsequent portrayal of a self-defeating pattern calling for psychological violence and symbolic death. In the section called ＂Medusation＂, the author addresses the concept of medusation in order to account for the process whereby O＇Neill＇s people, annihilated by their sudden glimpses into the other within themselves, undergo major physical and spiritual change In ＂Case Studies＂, the author analyzes the chief correlatives of medusation： the dead-in-life, the death mask and the dead double. The author＇s point in this paper is, thus, to show how extensively and pervasively O＇Neill deploys medusation in order to signify a rite of passage that engenders metatheatrical death. Its outcome may either be the perpetuation of an endless spiral of violence and self-defeat, or a premise for rebirth arising from the characters＇ assumption of responsibility as to their share of guilt in the evil of the world, together with the renewed human sympathy and understanding that this awareness brings along展开更多
The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the o...The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the opera theme is because he wants to get rid of the things of flashy without substance and he needs poetic, humanistic and simple subjects.展开更多
文摘As part of its contribution to the 1951 Festival of Britain, the Arts Council ran what can be seen in retrospect to be an important playwriting competition. Disregarding the London stage entirely, it invited regional theatres throughout the UK to put forward nominations for new plays within their repertoire for 1950-1951. Each of the five winning plays would receive, what was then, the substantial sum of ~100. Originality and innovation featured highly amongst the selection criteria, with 40 per cent of the judges＇ marks being awarded for ＂interest of subject matter and inventiveness of treatment＂. This article will assess some of the surprising outcomes of the competition and argue that it served as an important nexus point in British theatrical historiography between two key moments in post-war Britain： the first being the inauguration of the Festival of Britain in 1951, the other being the debut of John Osborne＇s Look Back in Anger in May 1956. The article will also argue that the Arts Council＇s play competition was significant for two other reasons. By circumventing the London stage, it provides a useful tool by which to reassess the state of new writing in regional theatre at the beginning of the 1950s and to question how far received views of parochialism and conservatism held true. The paper will also put forward a case for the competition significantly anticipating the work of George Devine at the English Stage Company, which during its early years established a reputation for itself by heavily exploiting the repertoire of new plays originally commissioned by regional theatres. This article forms part of a five year funded Arts and Humanities Research Council （AHRC） project, ＇Giving Voice to the Nation： The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945-1994＇. Details of the Arts Council＇s archvie, which is housed at the Victoria ＆ Albert Museum in London can be found at htto：//www.vam.ac.uk/vastatic/wid/ead/acgb/acgbf.html
文摘These reflections address the disturbing phenomenon of ＂not knowing what to say＂ to someone who has experienced the immediacy of a traumatic event and who, nevertheless, seeks a word of consolation from us to ease the suffering. The author addresses the inadequacy of consolation as mere verbiage, and then brings to mind an expanded understanding of discourse-as-comportment to offer the possibility of deep consolation for the suffering other in the groundlessness of the tragic situation, which the author calls ＂abysmal consolation＂. In the realization that discourse is also the embodied consolation of being-with the suffering other in a shattered lifeworld, both sufferer and carer of souling are freed up to meet each other in a place that was heretofore presumed to be an alienated and speechless place.
文摘Storytelling is an important performing art. Attracting theater practitioners and audiences are the main targets. Successful narrator communication is one of the biggest challenges even when theatres facilitate communication with scenery, lighting and costumes etc., as the performance depends primarily on the text and narrator for successful expression. This study views the most important techniques to create a well-made story at both text and performance levels. The researcher begins differentiating storytelling, imitation and characterization, as this understanding assists the objective of this study, which is to determine specific techniques to achieve successful communication with an audience. This research highlights elements which distort story structure; including immersion in narrative without incident description, identified as the most dangerous element due to description being essential to create suspense.1 Text condensation is also crucial. A good writer uses his pen more for deletion than addition. Repeated reading and deletion to condense the story to its optimal is vital. Also included are techniques for good text rhythm in addition to production of captivating beginnings. Further techniques to raise audience attention in text and event building, as well as to determine conflict and types, narrator language use and the structure of the diagnostic viewer, finally, mastering story ending techniques are provided. At performance level, this research provides techniques in creativity prologue, good story rhythm, body language and eye contact together with prop （object） use; all of which enable the narrator to capture and retain audience attention throughout. This research concludes with recommendations on how to achieve a good storytelling performance.
文摘This study is about Eugene O＇Neill＇s use of ＂medusation＂ as an effective metatheatrical device and foremost achievement in his art. Occurring onstage as an unexpected ＂anagnorisis＂, the medusation is a traumatic experience that engenders ritual death. This author argues that the medusation is a quintessentially metatheatrical act, insomuch as here O＇Neill carries out a commentary on the function and functioning of theatre, through the consciously fictitious events that unfold on the stage. In the ＂Introduction＂, the author reviews its development in O＇Neill＇s plays, from the more traditional melodramatic situations of the early works to the subsequent portrayal of a self-defeating pattern calling for psychological violence and symbolic death. In the section called ＂Medusation＂, the author addresses the concept of medusation in order to account for the process whereby O＇Neill＇s people, annihilated by their sudden glimpses into the other within themselves, undergo major physical and spiritual change In ＂Case Studies＂, the author analyzes the chief correlatives of medusation： the dead-in-life, the death mask and the dead double. The author＇s point in this paper is, thus, to show how extensively and pervasively O＇Neill deploys medusation in order to signify a rite of passage that engenders metatheatrical death. Its outcome may either be the perpetuation of an endless spiral of violence and self-defeat, or a premise for rebirth arising from the characters＇ assumption of responsibility as to their share of guilt in the evil of the world, together with the renewed human sympathy and understanding that this awareness brings along
文摘The opera is one of the music peaks of realism in the world opera literatures.It is full of sincere feelings and its characters have the real and vivid personality. Tchaikovsky choosing Pushkin＇ s ＂Onegin＂ as the opera theme is because he wants to get rid of the things of flashy without substance and he needs poetic, humanistic and simple subjects.
