1,721,300 research outputs found
Portrait of David Edgar
No full textA copy photograph of a portrait of David Edgar, J.P. (1812–1894), [Merri Creek Orphanage???]—State Library of Victoria: Chuck, T. (1872). David Edgar [picture] / T. F. Chuck., The explorers and early colonists of Victori
Do sangue e sémen às cadeiras e bancadas: a nova dramaturgia britânica dos anos noventa e de agora
Full text linkConsiderações de David Edgar sobre a nova dramaturgia britânica dos anos noventa e de agor
Définitions de l’identité nationale en crise dans Pentecost de David Edgar
No full textLes questionnements sur l’identité nationale, son rapport avec la culture, l’histoire, les mouvements, volontaires ou non, de populations sont devenus une préoccupation première pour les pays nouvellement libérés du joug communiste après la chute du mur de Berlin en 1989. David Edgar, dramaturge engagé, s’est penché sur ce problème et a écrit trois pièces formant un triptyque et cherchant à éclairer les problématiques révélées par le démantèlement du bloc soviétique : The Shape of the Table d..
David Edgar: Connection in Political Theatre
No full textTheatre, in its very best form, should reveal to us some truth about the human condition. Political theatre takes some of our harshest conditions and realities and forces us to face the ramifications we might otherwise ignore. This project focuses on the work of playwright David Edgar and his own personal “brand” of political theatre. Through a close examination and analysis of his 1995 play Pentecost, I utilize Edgar’s focus on conflicts in Eastern Europe to highlight the importance of political theatre in our world today. As east and west collide, Pentecost showcases the importance of understanding the turmoil that exists in the world around us. Rather than using these stories solely for artistic value, we must view them for what they are: the human experience. In addition to Pentecost, I reference a variety of Edgar’s other works that feature similar conflicts, to further emphasize Pentecost’s main themes. I also look at texts that analyze Edgar’s own political views and how his ideologies have influenced his plays. This approach takes a different look at political theatre as it focuses on the universal impact that more geographically specified material can have. Regardless of location, the intrinsic human experience is an all-encompassing concept, and one that all art, but especially theatre relies on. I examine where the human connections are made, and why political theatre is such an effective vehicle to communicate these realities
Le théâtre de David Edgar ou les coulisses de la politique
No full textDavid Edgar is a contemporary British playwright. But he is also politically committed. This study will try to shed light on the fundamental link uniting the two sides of the same creation. The play on stage thus answers the need for political activism, as through a mirror; politics and its representation in the theatre correspond one to the other, as the two sides of the same coin.But this link has been evolving throughout Edgar’s carrier as a playwright, as he began writing agitprop plays in the 1970s and he then turned towards more objective and finer renditions of the political sphere, which led him to reconsider his own ideas and ideals throughout the 1980s but also the 1990s and the 2000s. While he tended at first to intermingle political commitment and playwriting, Edgar then decided to separate the two activities which he pursued in parallel. His plays and his political articles started reflecting each other and became mutually enriching. By separating the two, David Edgar was indeed able to write for the theatre without being tempted by propaganda or indeed persuasion. The theatre thus became an instrument, a platform from which he could not only convince but have people think and consider the complexities of the political world
The uses of history in contemporary British political drama: David Edgar, Howard Brenton, and Caryl Churchill
No full textThis dissertation examines the uses of historical material in the oppositional theatre of three contemporary playwrights. David Edgar, Howard Brenton, and Caryl Churchill are of a post-Pinter generation of expressly socialist dramatists who have used agitational propaganda, documentary, and social-realist forms to subvert the dominant narratives of British history. Manipulating such received histories for the polemical purposes of demystifying both the past and the present, these writers construct metahistorical paradigms which interrogate ruling class versions of the past and attempt to recuperate an indigenous working-class tradition of British radicalism. However, while Edgar, Brenton and Churchill successfully challenge the authenticity of received histories, they remain constrained by the available forms of the history play, which frequently lead them towards the same bourgeois-heroic conventions of dramaturgy they try to reject.Made available in DSpace on 2011-05-07T13:52:13Z (GMT). No. of bitstreams: 2
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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Henry, Miller. The Book of Conversations with David Edgar. Edited by Michael Paduano.
Full text linkIn the mid-2010s, a scarce and fascinating book appeared on eBay.com. It was a small, green, Morocco goatskin-bound manuscript. Gold gilt-stamped letters on the cover read, “Book of Conversations with David Edgar.” The listing contained a description of a handwritten text by Henry Miller (1891-1980) during the peak of his Paris period; the object had a price tag of $100,000. My attention was immediately caught and I sent the link to Dr. James Decker and Roger Jackson, editors of NEXUS: The I..
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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