Introduction to Theatre and Drama Arts

Retropost, 2014:

Robert Bradley, "Introduction to Theatre and Drama Arts: Lecture 1 – Introduction." YouTube (Missouri State University) 8 Feb. 2013.
    http://youtu.be/_ELP95UxEmQ

Theatre 101 aims to answer several questions, the most important of which is, "what is the nature of the theatre experience?" Why do people do theatre? What do they hope to accomplish? What is the relationship between the performers and the audience? How has the relationship between theatre and society developed throughout history from the early theatres of democratic Athens to the contemporary mega-musical? The course looks at drama and theatre arts as art, literature, business, and entertainment, and it examines the creative processes of theatre -- writing, design, directing, and acting -- which move from idea to script to performance. Because theatre, by its very nature, is interactive and interdisciplinary, this course encourages students to develop their own imaginations and to be open-minded in their responses to the theatre experience. It encourages considered, critical evaluation of difficult or challenging material and asks students to develop their capacity for interpretation, evaluation, and cultural understanding.

LECTURE 2: INTERVIEW WITH MICHAEL MAULDIN

History of Theatre 1: From Ritual to Theatre

—oOo—

Tragedia (A Bibliography)

 Tragedia (A Bibliography) https://bibliojagl.blogspot.com/2023/10/tragedia.html

Drama histórico (A Bibliography)

 

Teatro experimental (A Bibliography)

 

    from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

Experimental drama

 

 

Abel, Lionel. Metatheatre: A New View of Dramatic Form. New York: Hill and Wang, 1963.

Alber, Jan. Unnatural Narrative: Impossible Worlds in Fiction and Drama. Lincoln: U of Nebraska P, 2016.

Ansorge, Peter. Disrupting the Spectacle: Five Years of Experimental and Fringe Theatre. Pitman, 1975.

Artaud, Antonin. Le théatre et son double.  Paris: Gallimard, 1938.

_____. The Theatre and Its Double. Trans. Mary Caroline Richards. New York: Grove, 1958.

_____. The Theatre and Its Double. London: Calder and Boyars, 1970.

_____. Artaud on Theatre. Ed. Claude Schumacher. London: Methuen, 1989.

Auslander, Philip. "Toward a Concept of the Political in Postmodern Theatre." Theatre Journal 39.1 (March 1987).

Aznar Soler, Manuel. Max Aub y la vanguardia teatral (escritos sobre teatro, 1928-1938). Valencia, 1993.

Benjamin, Walter. (What Is Epic Theater?) Mass und Wert (1939).

_____. "What is Epic Theater?" In Benjamin, Illuminations New York: Schocken, 1969. 147-54.*

Biçer, Ahmet G. "Sarah Kane's postdramatic strategies in Blasted, Cleansed and Crave." Uluslararası Sosyal Ara Tırmalar Dergisi. The Journal of International Social Research (2011): 75-80.

http://www.sosyalarastirmalar.com/cilt4/sayi17pdf/1diledebiyat/bicer_gokhan.pdf

2016

Birringer, Johannes. Theatre, Theory, Postmodernism. Bloomington: Indiana UP, 1991.

Blau, Herbert. "The Oversight of Ceaseless Eyes." In Around the Absurd: Essays on Modern and Postmodern Drama. Ed. Enoch Brater and Ruby Cohn. Ann Arbor: U of Michigan P, 1990. 279-92.* (Spectacles, avant-garde).

Borràs Castanyer, Laura, ed. Reescribir la escena. Madrid: Fundación Autor, 1998.

Brater, Enoch, and Ruby Cohn, eds. Around the Absurd: Essays on Modern and Postmodern Drama. Ann Arbor: U of Michigan P, 1990.*

Brecht, Bertold. "On the Experimental Theatre." In Perspectives on Drama. Ed. J. L. Calderwood and H. E. Toliver. New York: Oxford UP, 1968. 270-78.*

Cameron, Alasdair. "Experimental Theatre in Scotland?" In Contemporary British Theatre. Ed. Theodore Shank. Basingstoke: Macmillan, 1994. 123-38.

Castells i Altirriba, Joan, et al., eds. "La experimentación: Els Comediants, La Fura dels Baus, Els Joglars y La Cuadra." In Los nuevos nombres: 1975-1990. Ed. Darío Villanueva et al. Vol. 9 of Historia y crítica de la literatura española. Gen. ed. Francisco Rico. Barcelona: Crítica, 1992. 490-507.*

Causey, Matthew. "The Aesthetics of Disappearance and the Politics of Visibility in the Performance of Technology." Gramma/Gramma 10 (2002): 59-72.*

_____. "Postorganic Performance: The Appearance of Theater in Virtual Spaces." In Cyberspace Textuality: Computer Technology and Literary Theory. Ed. Marie-Laure Ryan. Bloomington: Indiana UP, 1999. 182-201.

_____. "La performance post-orgánica: la apariencia del teatro en los espacios virtuales." Trans. Óscar Jiménez. In Literatura y cibercultura. Ed. Domingo Sánchez-Mesa. Madrid: Arco/Libros, 2004. 297-325.*

Copeau, Jacques. Le Théâtre Populaire. 1941. (Pro experimental drama).

Cornago, Oscar. "Teatro postdramático: Las resistencias de la representación." In Artes de la escena y de la acción en España 1978-2002. Cuenca: Universidad de Castilla – La Mancha, 2006.

http://artesescenicas.uclm.es/archivos_subidos/textos/290/teatropostdramatico_ocornago.pdf

2016

Diamond, Elin. "Brechtian Theory/Feminist Theory." Drama Review 32 (1988): 82-94.

Esslin, Martin. The Theatre of the Absurd. 1961. Rev. ed. Harmondsworth: Penguin, 1968.*

_____. "The Theatre of the Absurd." In Perspectives on Drama. Ed. J. L. Calderwood and H. E. Toliver. New York: Oxford UP, 1968. 18-25.*

_____. The Peopled Wound: The Plays of Harold Pinter. London: Methuen, 1970.

Fuchs, Elinor. "Postmodernism and the Scene of Theater." In Fuchs, The Death of Character: Perspectives on Theater after Modernism. Bloomington: Indiana UP, 1996. 144-58.*

_____. "The Death of Character." (Postmodernism in drama). 1983. In Fuchs, The Death of Character: Perspectives on Theater after Modernism. Bloomington: Indiana UP, 1996.*

Gramma/Gramma 10 (2002): "Theatres in the Age of New Technologies." Ed. Elizabeth Sakellaridou and Savas Patsalidis. Aristotle U of Thessaloniki.

Grotowsky, Jerzy. Towards a Poor Theatre. London: Methuen, 1969.

_____. Towards a Poor Theatre. Ed. Eugenio Barba. 1969.

_____. Teatro de laboratorio. Barcelona: Tusquets, 1980.

Hayman, Ronald. Samuel Beckett. 1968. 3rd ed. London: Heinemann, 1980.*

_____. Artaud and After. Oxford: Oxford UP, 1977.

Hilton, Julian, ed. New Directions in Theatre. (New Directions in Theatre series). Houndmills: Macmillan, 1993.

Hunt, Albert. Hopes for Great Happenings: Alternatives in Education and Theatre. London: Eyre Methuen, 1976.

Innes, Christopher. Avant-Garde Theatre, 1892-1992. London: Routledge, 1993.*

Kleberg, Lars. Theatre as Action: Soviet Russian Avant-Garde Aesthetics. (New Directions in Theatre). Basingstoke: Macmillan, 1993.

Klein Hagen, Hildegard. "Notes on Post-Modernism and Two Postmodern Plays." In XVIII Congreso de AEDEAN (Alcalá de Henares, 15-17 diciembre 1994). Ed. Ricardo J. Sola, Luis A. Lázaro and José A. Gurpegui. Alcalá: Servicio de Publicaciones de la Universidad de Alcalá, 1997. 647-54.*

_____. "La nueva estética en la escena londinense al final del milenio: un teatro experimental y provocador." In De habitaciones propias y otros espacios conquistados: Estudios sobre mujeres y literatura en lengua inglesa en homenaje a Blanca López Román. Ed. Margarita Carretero González, Mª Elena Rodríguez Martín and Gerardo Rodríguez Salas. Granada: Servicio de Publicaciones de la Universidad de Granada, 2006.

Kubiak, Anthony. Agitated States: Performance in the American Theatre of Cruelty. Ann Arbor: Michigan UP, 2002.

Kustov, Michael. theatre@risk. London: Methuen, 2001.

Laurel, Brenda. Computers as Theatre. Reading (MA): Addison-Wesley Longman, 1991. 1993.

Ley, Graham, and Jane Milling. "Conclusion: After Modern Theory." In Ley and Milling, Performance and Theory from Stanislavski to Boal. Houndmills: Macmillan, 2000.

Macgowan, Kenneth. "The Plastic Stage." Chap. 7 of The Theatre of Tomorrow. New York: Boni, 1921. 102-09.

_____. The Theatre of Tomorrow. New York: Boni, 1921.

Marranca, Bonnie, and Gautam Dasgupta, eds. Theatre of the Ridiculous. 1979. Rev. ed. (Paj Books). Baltimore: Johns Hopkins UP, 1997. (Ronald Tavel, Charles Ludlam, Kenneth Bernard).

Nicholson, Steve. "'Irritating Tricks': Aesthetic Experimentation and Political Theatre." In Rewriting the Thirties: Modernism and After. Ed. Keith Williams and Steven Matthews. Harlow: Addison Wesley Longman, 1997. 147-62.*

Pronko, Leon Cabell. Avant-Garde: The Experimental Theatre in France. Berkeley: U of California P, 1964.

_____. Théâtre d'avant-garde.  Paris: Denoël.

Rebellato, Dan, and Chris Megson. "15. 'Theatre and Anti-theatre': David Hare and Public Speaking." In The Cambridge Companion to David Hare. Ed. Richard Boon. Cambridge: Cambridge UP, 2007. 236-49.*

Redmond, James. "Silence and Stasis in Modern Drama." In Anatomies of Silence. Ed. Ann R. Cacoullos and Maria Sifianou. Athens: U of Athens, 1998. 71-80.*

Reitz, Bernhard, and Peter Paul Schnierer, eds. Beyond the Mainstream. (German Society for Contemporary Theatre and Drama in English conference proceedings). Trier: Wissenschaftliche Verlag, 1997.

Richardson, Brian. "6. Unnatural Narration in Contemporary Drama." In Richardson, Unnatural Voices: Extreme Narration in Modern and Contemporary Fiction. (Theory and Interpretation of Narrative series). Ohio State UP, 2006. 106-13.*

Roose-Evans, James. Experimental Theatre: From Stanislavsky to Peter Brooks. 2nd ed. London: Routledge, 1989.

Sakellaridou, Elizabeth. "Exporting an Aesthetic, Importing Another? Experimental (Ad)ventures in Contemporary British Theatre." Gramma/Gramma 10 (2002): 157-70.*

Saltz, David Z. "Performing Arts." In A Companion to Digital Humanities. Ed. Susan Schreibman, Ray Siemens, and John Unsworth, eds. Malden (MA): Blackwell, 2004. 121-31.*

Sarrazac, Jean–Pierre. "El impersonaje. Una relectura de la crisis del personaje."  Revista de Literatura: Teoría, Historia, Crítica (Departamento de Literatura, Universidad Nacional de Colombia) 8 (2006): 353-69.

http://www.bdigital.unal.edu.co/14118/1/3-7906-PB.pdf

2016

_____. Juegos de sueño y otros rodeos: alternativas a la fábula en la dramaturgia. Trad. de Victor Viviescas. México: Conaculta, 2011.

_____. Poétique du drame moderne. De Henrik Ibsen à Bernard-Marie Koltès. Paris: Éditions du Seuil, 2012.

Sartre, Jean-Paul. "Pour un théâtre de situations." (Nov. 1947).

_____. Un théâtre de situations. 1973.

Schwanecke, Christine. "8. From Stories in Drama to the Drama of (Performed) Stories: Late-Twentieth and Early-Twentieth-First-Century Dissolutions of Established Generic Traditions." In Schwanecke, A Narratology of Drama. Berlin and Boston: de Gruyter, 2022. 304-57.* (Peter Shaffer, Amadeus; debbie tucker green, stoning mary; Lucy Prebble, Enron; Intermediality).

         https://doi.org/10.1515/9783110724110

         https://www.degruyter.com/document/doi/10.1515/9783110724110/html

         2022

Shank, Theodore. "Framing Actuality: Thirty Years of Experimental Theater, 1959-89." In Around the Absurd.  Ed. Enoch Brater and Ruby Cohn. Ann Arbor: U of Michigan P, 1990. 239-72.*

Sobieski, Lynn. "Breaking the Boundaries: The People Show, Lumiere & Son and Hesitate and Demonstrate." In Contemporary British Theatre. Ed. T. Shank. Basingstoke: Macmillan, 1994. 89-106.

Strauss, Botho. Crítica teatral: Las nuevas fronteras. 1989.

Styan, J. L. "8. The Forms of Things Unknown: Realism and Beyond." In Styan, Drama: A Guide to the Study of Plays. New York: Peter Lang, 2000. 2003. 2004.*

Trussler, Simon. "21. Alternative Theatres 1968-1979." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 338-61.* (Theatre and the 'events' of 1968. Stirrings on the fringe. The permissive society and the abolition of censorship. The Arts Lab, new spaces, and the legacy of 'cruelty'. Collective creation and environmental theatre. Into the 'seventies: agitational and political theatre. Community groups, the arts centre movement, and theatre-in-education. New writing moves into the mainstream. Joint  Stock and the Royal Court. Changes at the National and the RSC. Feminist, gay, and ethnic theatre. The Arts Council in a changing climate).

_____. "22. Theatre and the Marketplace 1979-1990." In Trussler, The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge UP, 1994. pbk 2000. 362-77. (Politics and economics of Thatcherism. Sponsorship and the theatre. The Arts Council in the 'eighties—and some clients. Institutional and West End theatre. The decade of the musical. The international dimension. The fringe: from counter-culture to chamber theatre. Alternative comedy. Female and male: directors, actors, dramatists. Plays for changing times. Heritage as theatre, the taste for spectacle, and the curious case of karaoke. The theatre of the streets, and a cautionary tale).

Vanden Heuvel, Michael. Performing Drama / Dramatizing Performance: Alternative Theater and the Dramatic Text. Ann Arbor: U of Michigan P, 1991.*

Weimann, Robert. "Shakespeare's Theater: Tradition and Experiment." In Shakespearean Tragedy. Ed. John Drakakis. London: Longman, 1992. 117-52.*

_____. "Shakespeare's Theater: Tradition and Experiment." In Shakespeare: An Anthology of Criticism and Theory 1945-2000. Ed. Russ McDonald. Oxford: Blackwell, 2003.*

Weiner, Bernard. "The Absurd, To and Fro." In Around the Absurd: Essays on Modern and Postmodern Drama. Ed. Enoch Brater and Ruby Cohn. Ann Arbor: U of Michigan P, 1990. 273-78.*

Wellwarth, George E. Spanish Underground Drama. University Park: Pennsylvania State UP, 1972.*

_____. (George E. Wellworth). Spanish Underground Drama (Teatro español underground). Trans. Carmen Hierro. Introd. and notes Alberto Miralles. Madrid: Villalar, 1978.*

Whitmore, Jon. Directing Postmodern Theater: Shaping Signification in Performance. Ann Arbor: U of Michigan P, 1994.

Worth, Catharine J. Revolutions in Modern English Drama. G. Bell & Sons, 1972.

 

 

 

 

Dictionaries and encyclopedias

 

 

Sarrazac, Jean–Pierre, ed. Léxico del drama moderno y contemporáneo. Trans. Víctor Viviescas. México, Paso de Gato, 2011.

 

 

 

 

 

 

Journals

 

 

Alternatives Théâtrales

 

Zapiski peredvizhnogo teatra. Ed. Pavel Nikolaevich Medvedev. From 1922.

 

 

 

 

 

See also Avant-garde.

Comedia (A Bibliography)

Comedy: A Bibliography

https://bibliojagl.blogspot.com/2023/10/comedia.html

Semiótica teatral

 

     from

A Bibliography of Literary Theory, Criticism and Philology

http://bit.ly/abibliog

by José Ángel García Landa

(University of Zaragoza, Spain)

 

 

 

Semiotics of Drama and Theatre

 

 

Alter, Jean. A Socio-Semiotic Theory of Theatre. Philadelphia: U of Pennsylvania P, 1990.

Aston, Elaine, et al., eds. Interazione dialogo convenzione: il caso del testo dramatico. Bologna: CLUEB, 1983.

Aston, Elaine, and George Savona. Theatre as Sign System: A Semiotics of Text and Performance. London: Routledge, 1991.

Bamberg, Michael. "Actions, Events, Scenes, Plots and the Drama.: Language and the Constitution of Part-whole Relationships." Language Sciences 16 (1994): 39-79.

Barry, Jackson. Art, Culture and the Semiotics of Meaning: Culture's Changing Signs of Life in Poetry, Drama, Painting and Sculpture. Houndmills: Macmillan, 1999.

Bennison, Neil. "Discourse Analysis, Pragmatics and the Dramatic 'Character': Tom Stoppard's Professional Foul." Language and Literature 2.2 (1994): 79-100.

Besbes, Khaled. The Semiotics of Beckett's Theatre: A Semiotic Study of the Complete Dramatic Works of Samuel Beckett. Boca Raton (FL): Universal Publishers, 2007.*

         https://www.academia.edu/37796852/

         2018

Бессмертнова С. В. (Svetlana Vladimirovna Bessmertnova). ("Semiotic Aspects of Bertold Brecht's Drama.") In СЕМИОСФЕРА НАРРАТОЛОГИИ: ДИАЛОГ ЯЗЫКОВ И КУЛЬТУР / Semiosphere of Narratology: A Dialogue of Languages and Cultures. Ed. Ludmila Tataru and José Angel García Landa. Balashov: Nikolayev, 2013. 132-41.*

Bobes Naves, Mª del Carmen. Semiología de la obra dramática. Madrid: Taurus, 1987.

_____. Estudios de semiología del teatro. Valladolid: Aceña, 1988.

Bogatyrev, Petr. "Kroj jako znak." Slovo a sovesnost 2 (1936): 43-47.

_____. "Costume as a Sign." Trans. Y. Lockwood. In Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin R. Titunik. Cambridge (MA): MIT Press, 1976. 13-19.

_____. "Znaky divadeini." Slovo a slovesnost 4 (1938): 138-49.

_____. Lidové divadlo çeské a slovenské. Prague, 1940. Select. (9-29) in Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin R. Titunik. Cambridge (MA): MIT Press, 1976. Trans. B. Kochis. 51-56.

_____. "Semiotics in the Folk Theater." Trans. B. Kochis. In Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin R. Titunik. Cambridge (MA): MIT Press, 1976.33-50.

_____. "Le signe dans le théâtre." Poétique 8 (1971): 517-30.

Brußák, Karel. "Znaky na çinském divadle." Slovo a slovesnost 5 (1939).

_____. "Signs in the Chinese Theater." trans. K. Brußak. In Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin R. Titunik. Cambridge (MA): MIT Press, 1976. 59-73.

Burns, Elizabeth. Theatricality: A Study of Conventions in the Theatre and in Social Life. London: Longman, 1972.

Carlson, Marvin. Places of Performance: The Semiotics of Theatre Architecture. Ithaca: Cornell UP, 1989.

_____. Theatre Semiotics: Signs of Life. Bloomington: Indiana UP, 1990.

Chambers, Ross. "Le masque et le miroir: Vers une théorie relationnelle du théâtre." Etudes littéraires 13.3 (1980) 397-412.

Chapple, Freda and Chiel Kattenbelt, eds. Intermediality in Theatre and Performance. Amsterdam and New York: Rodopi, 2006.

Claycomb, Ryan. "Here's How You Produce This Play: Towards a Narratology of Dramatic Texts." Narrative 21.2 (May 2013): 159-79.*

Constantinidis, Stratos. "Theatrical Semiosis and Problems of its Notation." Koidikas/Code: Ars Semeiotica 8.1-2 (January-April 1985).

DeCoursey, Matthew. "Making Meaning in the Theatre: Double Noesis." In How to Make Believe: The Fictional Truths of the Representational Arts. Ed. J. Alexander Bareis and Lene Nordrum. Berlin and Boston: De Gruyter, 2015. 269-82.*

Díez Borque, José María, and Luciano García Lorenzo, eds. Semiología del teatro. Barcelona: Planeta, 1975.

Eco, Umberto, ed. "Paramètres de la sémiologie théâtrale." In Sémiologie de la représentation. Ed. André Helbo. Brussels: Complexe, 1975. 110-35.

_____. "Semiotics of Theatrical Performance." Drama Review 21 (1977): 107-17.

Elam, Keir. The Semiotics of Theatre and Drama. London: Methuen, 1980.

_____. The Semiotics of Theatre and Drama. 2nd ed. (New Accents). London: Routledge, 2002.* (available in electronic edition).

_____. "The Semiotics of Theatre and Drama." In Semiotics. Ed. Karin Boklund-Lagopoulou, Alexandros Lagopoulos and Mark Gottdiener. London: SAGE, 2002. Vol. 3.

_____. "Semiotics of Theatrical Performance." Drama Review 21 (1977): 107-17.

Ertel, Evelyne. "Elements pour une sémiologie du théâtre." Travail théâtral 28-29 (1977): 121-50.

Fischer-Lichte, Erika. The Semiotics of Theatre. 1983. Trans. Jeremy Gaines and Doris L. Jones. (Advances in Semiotics). Bloomington: Indiana UP, 1992.*

Floch, Jean-Marie. "Sémiotique visuelle et statuts sémiotiques des éléments visuels du discours théâtral." Degrés 13 (1978): 39-57.

Fludernik, Monika. "Narrative and Drama." In Theorizing Narrativity. Ed. John Pier and José Ángel García Landa. (Narratologia, 12). Berlin and New York: Walter de Gruyter, 2008. 355-83.*

Fortier, Mark. "1. Theatre, Life and Language: Semiotics, Phenomenology and Deconstruction." In Fortier, Theory/Theatre: An Introduction. 3rd ed. London: Routledge, 2016. 13-64.*

Fuchs, Elinor. "The Theatre after Derrida." Performing Arts Journal 26/7 (1985): 163-73.

_____. "Signaling through the Signs." In Fuchs, The Death of Character: Perspectives on Theater after Modernism. Bloomington: Indiana UP, 1996. 69-91.*

García Landa, José Angel. "Glass Prospective." In García Landa, Vanity Fea 29 Aug. 2014.* (Frames; Robert Greene's Friar Bacon and Friar Bungay).

         http://vanityfea.blogspot.com.es/2014/08/glass-prospective.html

         2014

_____. "Glass Prospective: La televisión medieval en el teatro isabelino." Ibercampus 6 Sept. 2014.*

         http://www.ibercampus.info/la-television-medieval-en-el-teatro-isabelino-28484.htm

         2014

García Templado, José. La función poética y el teatro de vanguardia. Murcia: Ediciones 23-27/Cátedra de Teatro de la Universidad de Murcia, 1978.*

Gibinska, M. The Functioning Language in Shakespeare's Plays: A Pragma-Dramatic Approach. Krakow: Uniwersytet Jagiellonski, 1987.

Goffman, Erving. Frame Analysis: An Essay on the Organization of Experience. New York: Harper and Row, 1974.

_____. Frame Analysis. New York: Harper-Colophon.

_____. Frame Analysis: An Essay on the Organization of Experience. Foreword by Bennett M. Berger. Boston: Northeastern UP, 1986.*

Gutiérrez Flórez, Fabián. Teoría y praxis de semiótica teatral. Valladolid, 1993.

Hamburger, Käte. "La ficción dramática." In Hamburger, La lógica de la literatura. (2nd ed., 1977). Madrid: Visor, 1995. 132-46.*

Hennaut, Benoît. (Université Libre de Bruxelles and Paris). "Narratologie et écritures théâtrales: Quel dialogue possible?" Cahiers de narratologie 24 (2013): 1-19.*

         http://narratologie.revues.org/6669

         2014

http://journals.openedition.org/narratologie/6669

DOI : 10.4000/narratologie.6669

Online at Semantic Scholar.*

http://pdfs.semanticscholar.org/a246/afe47f4afee795ead9e3eb78ae1f98434fe0.pdf

2021

Hidalgo Tenorio, Encarnación. "La teoría de los modelos mentales y el fenómeno de la recepción dramática." Cuadernos de Filología Inglesa 6.2 (1997): 81-112.*

Honzl, Jindrich. "Pohyb divadelního znaku." Slovo a slovesnost 6 (1940): 177-88.

_____. "Dynamics of the Sign in the Theater." Trans. I. R. Titunik. In Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin R. Titunik. Cambridge (MA): MIT Press, 1976.74-93.

_____. "Hierarchie divadelních prostredku." Slovo a slovesnost 9 (1943): 187-93.

_____. "The Hierarchy of Dramatic Devices." In Semiotics of Art: Prague School Contributions. Ed. Ladislav Matejka and Irwin R. Titunik. Cambridge (MA): MIT Press, 1976. 118-27.

Horstmann, Jan. Theaternarratologie. (Narratologia, 64). Berlin and Boston: de Gruyter, 2018.* (Scenery, semiotics of drama, performance, space, perspective; Roland Schimmelpfennig, Der Goldene Drache, 2009; Nicolas Stemann, Faust; Jette Steckel, Der Fremde; Bastian Kraft, Orlando).

Ingarden, Roman. "The Functions of Language in the Theater". In The Literary Work of Art . Evanston: Northwestern UP, 1973.  375-396. Trans. of "Von den Funktionen der Sprache im Theaterschauspiel." Zagazdenia rodzajów literackich 1 (Lodz, 1958): 65-91.

Jahn, Manfred. "Narrative Voice and Agency in Drama: Aspects of a Narratology of Drama." New Literary History 32.3 (Summer 2001): 659-679. Online at Scribd:

         http://es.scribd.com/doc/142349049/

         2013

Online at Project Muse.*

         https://doiorg/10.1353/nlh.2001.0037

Online at Academia.*

         https://www.academia.edu/32026815/

         2021

Kesteren, A. van, and M. Schmidt, eds. Semiotics of Drama and Theatre. Amsterdam: J. Benjamins, 1984.

Kowzan, Tadeusz. "The Sign in the Theatre." Diogenes 61 (1968): 52-80.

Larsen, Svend Erik. "Body, Space, and the Sign." Gramma 2 (1994): 77-92.*

Lotman, Iuri M. "El lenguaje teatral y la pintura (Contribución al problema de la retórica icónica)." In Lotman, La Semiosfera, III: Semiótica de las artes y de la cultura. Madrid: Cátedra / Universitat de València, 2000. 85-96.*

Mages, Wendy K. "Drama and Imagination: A Cognitive Theory of Drama's Effect on Narrative Comprehension and Narrative Production." Research in Drama Education 11.3 (2006): 329-40.

Maguire, Tom. Performing Story on the Contemporary Stage. Basingstoke: Palgrave Macmillan, 2015.*

Marinis, Marco de. "Problemi e aspetti di un aproccio semiotico al teatro." Lingua e Stile 10 (1975): 343-57.

_____. Semiotica del teatro. Milan: Bompiani, 1982.

Meerzon, Yana. "Russian Formalists' Views of Film and Theater Interdependence." In Slavische Erzähltheorie: Russische und tschesische Ansätze. Ed. Wolf Schmid. Berlin and New York: De Gruyter, 2009. 239-72.* (Semiotics of drama and film).

Melrose, Susan. A Semiotics of the Dramatic Text. Basingstoke: Macmillan, 1993.

Nieto García, Jesús Manuel. "Some Reflections on the Analysis of Discourse and Dramatic Text." Revista Alicantina de Estudios Ingleses 8 (November 1995): 161-76.*

Nünning, Ansgar, and Roy Sommer. "Diegetic and Mimetic Narrativity: Some Further Steps towards a Narratology of Drama." In Theorizing Narrativity. Ed. John Pier and José Ángel García Landa. (Narratologia, 12). Berlin and New York: Walter de Gruyter, 2008. 331-54.*

Pérez Bowie, José Antonio. "Sobre Pragmática del texto teatral: el 'hablante dramático básico' en el teatro de Alfonso Sastre." In Estudios Filológicos en homenaje a Eugenio de Bustos Tovar. Ed. José Antonio Bartol et al. Salamanca: Ediciones Universidad de Salamanca, 1992.* 733-48.

Pérez López, Héctor Julio. "Los tres cuerpos de la narración: Una poética cognitivista de la interpretación actoral." L'Atalante 19 (2015): 17-26. Online at Academia.*

         https://www.academia.edu/11723400/

         2020

Pérez Pérez, M. C., ed. Los géneros literarios: Curso superior de narratología: Narratividad-dramaticalidad. 1997.

Prince, Albert. "Dramatic Speech Acts: A Reconsideration." In Rivers 1986. 147-58.

Redling, Ellen. Rev. of Tom Maguire, Performing Story on the Contemporary Stage. JCDE 4.2 (2018): 476-80.*

         DOI 10.1515/jcde-2016-0037

         http://archiv.ub.uni-heidelberg.de/volltextserver/25047/1/jcde-2016-0037.pdf

         2021

Rodríguez Pequeño, Mercedes. "Semiología dramática." In Rodríguez Pequeño, Teoría de la literatura eslava. Madrid: Síntesis, 1995. 207-19.*

Romera Castillo, José. "Crítica semiótica del teatro del Siglo de Oro en España." In Estado actual de los estudios sobre el Siglo de Oro. Ed. Manuel García Martín et al. Salamanca: Ediciones Universidad de Salamanca, 1993. 2.869-78.*

_____. "Hacia un estado de la cuestión sobre teatro y nuevas tecnologías en España." Signa 17 (2008): 17-28.

         http://descargas.cervantesvirtual.com/servlet/SirveObras/56814067650125008921457/029455.pdf?incr=1

         2015

Rossi-Landi, Ferruccio. "Acción social y procedimiento dialéctico en el teatro." In Rossi-Landi, Semiótica y estética. Buenos Aires: Nueva Visión, 1976. 39-52.*

Ruffini, Franco. "Semiotica del teatro: ricognizione degli studi." Biblioteca teatrale 9 (1974): 34-81.

Savona, Jeannette Laillou. "Narration et actes de parole dans le texte dramatique." Etudes littéraires 13.3 (1980): 471-93.

Schwanecke, Christine. "2. Rising Action: Towards a Narratology of Drama." A Narratology of Drama. Berlin and Boston: de Gruyter, 2022.      35-56.*

         https://doi.org/10.1515/9783110724110

         https://www.degruyter.com/document/doi/10.1515/9783110724110/html

         2022

Segre, Cesare. "A Contribution to the Semiotics of Theatre." Poetics Today 1 (1980): 39-48.

Semiología del teatro. Special issue of Theatralia. Ed. Jesús G. Maestro. (1996).

Serpieri, Alessandro. I sonetti dell'immortalità. Milan: Bompiani, 1975.

_____. "Ipotesi teorica di segementazione del testo teatrale." Strumenti critici 32/33 (Turin: Einaudi, 1977).

_____, ed. Come comunica il teatro: dal testo alla scena. Milan: Il Formichiere, 1978.

Schechner, Richard, and Cynthia Mintz. "Kinesics and Performance." Drama Review 17 (1973): 102-8.

Short, Mick. "Discourse Analysis and Drama." In The Language and Literature Reader. Ed. Ronald Carter and Peter Stockwell. Abingdon (UK) Routledge, 2008.*

Stern, Daniel N. "On Kinesic Analysis." Drama Review 17 (1973): 114-31.

Talens, Jenaro, José Romera Castillo, Antonio Tordera and Vicente Hernández Esteve. Elementos para una semiótica del texto artístico (poesía, narrativa, teatro, cine). 3rd ed. Madrid: Cátedra, 1983.*

Tordera Sáez, Antonio. "Teoría y técnica del análisis teatral." In Elementos para una semiótica del texto artístico. By Jenaro Talens et al. 4th ed. Madrid: Cátedra, 1988. 157-200.*

Trapero, A. Patricia. Introducción a la semiótica teatral. Palma de Mallorca, 1989.

Ubersfeld, Anne. Lire le théâtre.

_____. Semiótica teatral. Ed. and trans. by Francisco Torres of Lire le théâtre. Madrid: Cátedra / U de Murcia, 1989. 2nd ed. 1994.

Urmson, James O. "Dramatic Representation." Philosophical Quarterly 22 (1972): 333-43.

Veltrusky, Jiri. "Man and Object in the Theater." In A Prague School Reader on Esthetics, Literary Structure, and Style. Ed. and trans. Paul L. Garvin. Washington, D. C.: Georgetown UP, 1964. 83-92.*

Weidle, Roland. "Organizing the Perspectives: Focalization and the Superordinate Narrative System in Drama and Theater." In Point of View, Perspective, and Focalization: Modeling Mediation in Narrative. Ed. Peter Hühn, Wolf Schmid and Jörg Schönert. Berlin and New York: Walter de Gruyter, 2009. 221-42.*

West, William N. "Repeating Staging Meaning between Freud and Aristotle." SubStance 89 (1999): 138-58

 

 

 

 

 

Bibliography

 

 

"Curriculum Vitae (publicaciones) del profesor José Romera Castillo sobre teatro." In Cartografía Teatral en homenaje al profesor José Romera Castillo. Ed. G. Laín Corona and R. Santiago Nogales. Ed. G. Laín Corona and R. Santiago Nogales. Ed. G. Laín Corona and R. Santiago Nogales. Madrid: Visor, 2018.  

"Publicaciones del Centro de Investigación de Semiótica Literaria, Teatral y Nuevas Tecnologías." In Teatro, (auto)biografía y autoficción (2000-2018) en homenaje al profesor José Romera Castillo (Tomo III). Ed. G. Laín Corona and R. Santiago Nogales. Madrid: Visor, 2018.

 

 

 

 

 

 

Video

 

 

Ricks, Christopher. "The Medium of Drama Is Not Words." Videolecture. YouTube (New College of the Humanities) 9 Dec. 2015.*

         https://youtu.be/sB6y_OH68Uo

         2016

 

Teatro y política (A Bibliography)

 

Teatro y política (A Bibliography) https://bibliojagl.blogspot.com/2023/09/teatro-y-politica.html

Intriga dramática (A Bibliography)

 Intriga dramática (A Bibliography) https://bibliojagl.blogspot.com/2023/09/intriga-dramatica.html

Actuaciones teatrales

 Actuaciones teatrales y escénicas https://bibliojagl.blogspot.com/2023/09/actuaciones-teatrales-y-escenicas.html

Personajes dramáticos ( A Bibliography)

 Personajes dramáticos (A Bibliography) https://bibliojagl.blogspot.com/2023/09/personajes-dramaticos.html

Drama and Theatre

Drama and Theatre (A Bibliography): https://literarytheory.hcommons.org/2023/09/07/drama-and-theatre-2/

Somos Teatreros, en varios eJournals

Retropost, 2012:

 

 "Somos teatreros: El sujeto, la interacción dialéctica y la estrategia de la representación según Goffman (We Playact: The Subject, Dialectic Interaction and the Strategy of Representation according to Goffman). Online PDF at Social Science Research Network 31 May 2012.*

 http://ssrn.com/abstract=2070508

 Cognitive Linguistics: Cognition, Language, Gesture eJournal 4.15 (8 June 2012):

 http://papers.ssrn.com/sol3/JELJOUR_Results.cfm?form_name=journalbrowse&journal_id=1314047     

 http://www.ssrn.com/link/Cognitive-Linguistics.html (31 May 2012).*

 Ethics eJournal 5.59 (11 June 2012).

 http://papers.ssrn.com/sol3/JELJOUR_Results.cfm?form_name=journalBrowse&journal_id=950360      

http://www.ssrn.com/link/Ethics.html (31 May 2012).*

 Philosophy of Mind eJournal 5.18 (8 June 2012):

http://papers.ssrn.com/sol3/JELJOUR_Results.cfm?form_name=journalbrowse&journal_id=985625

http://www.ssrn.com/link/Philosophy-Mind.html (31 May 2012).*

Social and Political Philosophy eJournal 5.85 (12 June 2012).

http://papers.ssrn.com/sol3/JELJOUR_Results.cfm?form_name=journalBrowse&journal_id=950427

http://www.ssrn.com/link/Social-Political-Philosophy.html (31 May 2012).*

Rhetorical Theory eJournal 1.3 (8 August 2012).

 http://papers.ssrn.com/sol3/JELJOUR_Results.cfm?form_name=journalBrowse&journal_id=950847

 http://www.ssrn.com/link/Rhetorical-Theory.html (31 May 2012).*

Cada uno de estos eJournals del Social Science Resarch Network tiene sus propios editores diferentes. Por tanto, este artículo ha pasado varios filtros distintos. En otros casos no ha sido aceptado como relevante apra el área, por ejemplo en el Literary Theory and Criticism eJournal, cosa que me parece discutible, pero en fin.  Otros artículos míos también veo que son distribuidos por varias revistas temáticas del SSRN. Está al parecer en versión beta, y poco accesible todavía, el visionado de los volúmenes y fascículos (electrónicos, claro) de estas revistas; de momento sólo hay acceso al conjunto de las publicaciones de la revista en orden secuenciado.

Autointerpretaciones (Playing Myself)

 

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