1,760 research outputs found
David Greig: dramaturgies of encounter and engagement [special issue of Contemporary Theatre Review]
No full textA special edition of Contemporary Theatre Review focusing on the theatre works of playwright David Greig. Produced following the University of Lincoln's Annual Playwright's Festival 2014.</p
David Greig: dramaturgies of encounter and engagement [special issue of Contemporary Theatre Review]
No full textA special edition of Contemporary Theatre Review focusing on the theatre works of playwright David Greig. Produced following the University of Lincoln's Annual Playwright's Festival 2014.</p
San Diego
No full textInvited by Greig to co-direct his play, 'San Diego', a non-linear narrative involving 18 characters in 27 locations inside the mind of one character, a writer, 'David Greig', here I furthered my research into the implications of reading a text beginning from a spatial practice as distinct from a textual practice (1996-2001). Developing my previous dance research into experimental collaboration models (1987 - 2000), with the 'San Diego' collaborators I explored how director/designer/composer/lighting designer/performer could create intersecting spaces in a work, and how the text might become a space amongst spaces in the final performance. Rendering place became secondary to creating sites for emotion and action
San Diego
No full textInvited by Greig to co-direct his play, 'San Diego', a non-linear narrative involving 18 characters in 27 locations inside the mind of one character, a writer, 'David Greig', here I furthered my research into the implications of reading a text beginning from a spatial practice as distinct from a textual practice (1996-2001). Developing my previous dance research into experimental collaboration models (1987 - 2000), with the 'San Diego' collaborators I explored how director/designer/composer/lighting designer/performer could create intersecting spaces in a work, and how the text might become a space amongst spaces in the final performance. Rendering place became secondary to creating sites for emotion and action
At the End of the Sentence
No full textAs a choreographer, this project allowed me to explore research concerns associated with spatial and embodied meanings for character and narrative development, extending my collaboration with David Greig (2003). The film was conceived as a shared text, rather than the director's interpretation of the writer's (Greig's) script. I developed my research into the cowboy icon in film [site-specific dancework 'Love Songs' (2000) through a narrative framework exploring concepts of masculinity in western Scotland
Comunicazione, conflitto e traduzione: The American Pilot di David Greig
No full textLa tesi presenta la traduzione dell'opera teatrale The American Pilot, scritta dallo scozzese David Greig. La traduzione è accompagnata da un commento sugli aspetti principali del testo, come l'uso del linguaggio e la riflessione sul ruolo della traduzione tra culture in conflitto
Dunsinane
No full textInternational audienceUne impression de déjà-vu ? La forteresse de Dunsinane, c’est le château où s’était retranché l’usurpateur Macbeth à la fin de la « pièce écossaise » de William Shakespeare. David Greig reprend la situation là où Shakespeare l’avait laissée en 1606. Le tyran meurtrier a été éliminé ; la dangereuse femme-sorcière qui avait poussé son époux au crime est défaite, elle aussi. Peut-on alors espérer la paix ? Pas tout à fait. Certes, Macbeth est mort, mais son successeur Malcolm n’est que veulerie et luxure, et Lady Macbeth, de son vrai nom Gruach, n’est pas prête à abandonner l’Écosse aux mains de ce Malcolm, monarque calculateur appuyé par l’ennemi anglais. L’harmonie politique semble ne pas vouloir s’installer en ce royaume.Dans la suite qu’il invente à la tragédie de Shakespeare, Greig s’infiltre dans les ouvertures, ou plutôt les ellipses, de l’histoire des Macbeth, et il les remplit des doutes politiques de notre époque. Greig rebat les cartes et distribue une nouvelle main aux joueurs. Il donne la parole à ceux que Shakespeare avait réduits au silence : Gruach (Lady Macbeth), Malcolm, et les soldats écossais et anglais
Dunsinane
No full textInternational audienceUne impression de déjà-vu ? La forteresse de Dunsinane, c’est le château où s’était retranché l’usurpateur Macbeth à la fin de la « pièce écossaise » de William Shakespeare. David Greig reprend la situation là où Shakespeare l’avait laissée en 1606. Le tyran meurtrier a été éliminé ; la dangereuse femme-sorcière qui avait poussé son époux au crime est défaite, elle aussi. Peut-on alors espérer la paix ? Pas tout à fait. Certes, Macbeth est mort, mais son successeur Malcolm n’est que veulerie et luxure, et Lady Macbeth, de son vrai nom Gruach, n’est pas prête à abandonner l’Écosse aux mains de ce Malcolm, monarque calculateur appuyé par l’ennemi anglais. L’harmonie politique semble ne pas vouloir s’installer en ce royaume.Dans la suite qu’il invente à la tragédie de Shakespeare, Greig s’infiltre dans les ouvertures, ou plutôt les ellipses, de l’histoire des Macbeth, et il les remplit des doutes politiques de notre époque. Greig rebat les cartes et distribue une nouvelle main aux joueurs. Il donne la parole à ceux que Shakespeare avait réduits au silence : Gruach (Lady Macbeth), Malcolm, et les soldats écossais et anglais
Dunsinane
No full textInternational audienceUne impression de déjà-vu ? La forteresse de Dunsinane, c’est le château où s’était retranché l’usurpateur Macbeth à la fin de la « pièce écossaise » de William Shakespeare. David Greig reprend la situation là où Shakespeare l’avait laissée en 1606. Le tyran meurtrier a été éliminé ; la dangereuse femme-sorcière qui avait poussé son époux au crime est défaite, elle aussi. Peut-on alors espérer la paix ? Pas tout à fait. Certes, Macbeth est mort, mais son successeur Malcolm n’est que veulerie et luxure, et Lady Macbeth, de son vrai nom Gruach, n’est pas prête à abandonner l’Écosse aux mains de ce Malcolm, monarque calculateur appuyé par l’ennemi anglais. L’harmonie politique semble ne pas vouloir s’installer en ce royaume.Dans la suite qu’il invente à la tragédie de Shakespeare, Greig s’infiltre dans les ouvertures, ou plutôt les ellipses, de l’histoire des Macbeth, et il les remplit des doutes politiques de notre époque. Greig rebat les cartes et distribue une nouvelle main aux joueurs. Il donne la parole à ceux que Shakespeare avait réduits au silence : Gruach (Lady Macbeth), Malcolm, et les soldats écossais et anglais
David Greig oyunlarının post kolonyalizm açısından incelenmesi
No full textPostkolonyal çalışmalar, İkinci Dünya Savaşı sonrası yükselişe geçmiş olan alanlardan biridir. Bu çalışmaların kaynağı, edebiyat ve kültürel çalışmalardır. Postkolonyal çalışmaların çıkış noktası unsurlarının başında mağdur olan insanların durumları gelmektedir. Yaşanmış olan olaylar Batı gözünden yorumlanmaktansa dekolonizasyon sürecinden geçerek bağımsızlık kazanmış ülkelerin gözünden yansıtılması amacını gütmektedir. Bu çalışmaların konu aldığı ülkeler genellikle Asya ve Afrika gibi üçüncü dünya ülkeleridir. Bu çalışmalarda genel olarak bağımsızlıklarını yeni elde etmiş ülkelerin dekolonizasyon süreçleri ele alınmış olsa da Amerika Birleşik Devletleri de bu alanda ele alınan ülkelerden birini oluşturmaktadır. Bunun sebebinde ise sömürgecilik döneminin sonu ermesi etkili olmaktadır. Postkolonyal çalışmalar tüm bunlarla birlikte; ulusların manevi yorgunluklarını, maruz kaldıkları ırkçılıkları, kimlik sorunlarını, uygulanan baskıları, halkın maddi durumlarını ve ayrımcılıkları da konu almaktadır. Tüm bu problemlerin kökenine inerek açıklanmasına katkı sağlamaktadır. 20. yy. ortalarından bu yana önem kazanmış olan postkolonyal çalışmalar ışığında, iç sömürgeciliğe bağlı Amerikan toplumlarında kölelik ile başlayan ırkçılık faaliyetleri, Afrikalı Amerikanların kimlik sorunları ve yurttaşlık hakları bazı ünlü eserler aracılığı ile alınmaktadır. Postkolonyalizme eserlerinde yer veren isimlerden biri de David Greig'dir. "Europes, Damascus" gibi eserlerin bu belirgin bir biçimde görülmektedir. Sömürgeciliğin bırakmış olduğu felsefi, psikolojik, edebi ve sosyolojik durumları ele alan Greig, eserlerinde sömürülen ülkeler ve bu ülkelerde yaşamakta olan insanlara postkolonyal ekoeleştiri bakış açısı ile yer vermektedir.Postcolonial studies are one of the areas that have been on the rise since the Second World War. The source of these works is literary and cultural studies. One of the starting point elements of postcolonial studies is the situation of the victims. Rather than being interpreted from the eyes of the West, the events that have taken place are intended to be reflected from the eyes of the countries that have gained independence through the process of decolonization. The countries covered by these studies are usually Third World countries such as Asia and Africa. Although the decolonization processes of newly independent countries have been discussed in these studies, the United States is one of the countries covered in this field. The reason for this is that the end of the colonial period is effective. The postcolonial works also address the spiritual fatigue of nations, racism they are subjected to, the problems of identity, the pressures they are subjected to, the material situation of the people and the discrimination. It contributes to the explanation of all these problems by going to the root. 20. century. in the light of postcolonial studies, which have gained importance since the middle, racism activities started with slavery in American societies connected to internal colonialism, African Americans identity problems and civil rights are acquired through some famous works. One of the names that feature postcolonialism in his works is David Greig. This is clearly seen in works like "Europes, Damascus". Greig, who deals with the philosophical, psychological, literary and sociological situations that colonialism left behind, includes the exploited countries and the people living in these countries with a postcolonial ecocritical perspective
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