Commenced in January 2007
Frequency: Monthly
Edition: International
Paper Count: 10

drama Related Abstracts

10 Trends in Arabic Drama Series (Musalsalat) Production

Authors: Paradigm Shift


In an overwhelmingly import oriented content bazaar of Arabian TV industry, Musalsalat stand unique in their indigenousness and mass popularity, being rivalled only by movies and football. The Arabic term ‘Musalsalat’ stands for drama series with episodes of 30-45 minutes duration; the format being close to Latin American Telenovela concept-clear cut stories with definitive endings that permit narrative closures. Traditionally Musalsalat were either situational comedies or religiously inspired. Present-day productions have started addressing historical, creative and socially progressive issues targeting the young and well-travelled audiences. Though these soaps get prime ratings throughout the year, it is during Ramadan, that they become a raving success in securing viewership. That Musalsalat have become paramount Ramadan programming is evident by their dominance on the grid and attracting heavy ad-spend. The number of Musalsalats produced specifically for Ramadan reached over 100 last year with Ramadan TV advertising amounting to USD1, 947bn constituting 21% of the total regional TV Adspend of USD 9,189bn.

Keywords: Television, drama, Musalsalat, pan Arab

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9 Breaking the Silence and Rewriting the Script

Authors: Carlette Groome


This paper examined the role of drama in the lives of four women. The researcher concluded that drama can be an avenue of healing and could be an effective means of social work intervention in the communities as well as female empowerment. The participants in the study were able to, through the dramatic process; re-write their life’s scripts by resolving paradoxes and conflicts related to the themes unearthed. The research conducted examined the role of drama in the lives of four women living in volatile communities in Jamaica, who were each exposed to violence in one, or multiple, forms. The women were trained by Sistren Theatre Collective in the use of drama for education (edutainment), and were actresses in Sistren's street theatre drama group. Using their own personal and collective experiences, they used drama to raise social consciousness at the community level, about violence and other issues affecting women. The study employed a narrative case study approach and was grounded in a constructivist paradigm. This paradigm was coupled with a basic interpretive qualitative method and the concept of the reflective practitioner provided the foundation for the analysis. Through individual conversations with the women, themes of abuse, resilience, self- esteem, and empowerment arose sharply. The women explored drama and understood it to be instrumental in healing different aspects of their lives. Also, through the dramatic process; they were able to re-write their life’s scripts by resolving paradoxes and conflicts related to the themes unearthed.

Keywords: Women, Community, drama, Healing

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8 The Element of Episode and Idea in the Descriptive Poetry of Hutai'A

Authors: Abubakar Ismaila Yusuf


This research studied element of episode (events) and idea in the descriptive poetry of Hutai’a with the intention to sale the opinion of this type of analysis to others, and also encourage and open door for researchers that thinks only in drama and novel those elements can be implemented. The research uses explanatory method to point out the element of episode and ideology from the said poetry to show that the same element of drama can be seen in poetry. The research finds that element of drama and novel can be seen and implemented analytically in dramatic and some descriptive poetry and its likes. The researcher finally advice colleague to widened scope of research and always think of modernizing it.

Keywords: Poetry, drama, novel, Hutai'a

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7 When Talk Is the Cure for the Morning After: Talking Therapy in Conor Mcpherson’s Dublin Carol and Shining City

Authors: Maha Hamoud Alatawi


Drawing on the work of John McLeod and Ariel Watson, this paper explains the relationship between narrative and psychotherapy in two plays by the Irish playwright Conor McPherson. Dublin Carol presents John’s chequered past through his reminiscences of alcohol addiction and Shining City tells the story of John who is haunted by the ghost of his wife, recently died in a car accident, and who seeks the help of Ian, a therapist. At first, the significance of storytelling as an integral part of Irish culture is highlighted. Such a tradition features prominently in contemporary Irish drama. The paper concludes that it is the power of narrative and its therapeutic impact and not the act of psychotherapy and treatment which brings signs of change to characters’ lives.

Keywords: Psychotherapy, drama, storytelling, Conor McPherson

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6 Harrison’s Stolen: Addressing Aboriginal and Indigenous Islanders Human Rights

Authors: M. Shukry


According to the United Nations Declaration of Human Rights in 1948, every human being is entitled to rights in life that should be respected by others and protected by the state and community. Such rights are inherent regardless of colour, ethnicity, gender, religion or otherwise, and it is expected that all humans alike have the right to live without discrimination of any sort. However, that has not been the case with Aborigines in Australia. Over a long period of time, the governments of the State and the Territories and the Australian Commonwealth denied the Aboriginal and Indigenous inhabitants of the Torres Strait Islands such rights. Past Australian governments set policies and laws that enabled them to forcefully remove Indigenous children from their parents, which resulted in creating lost generations living the trauma of the loss of cultural identity, alienation and even their own selfhood. Intending to reduce that population of natives and their Aboriginal culture while, on the other hand, assimilate them into mainstream society, they gave themselves the right to remove them from their families with no hope of return. That practice has led to tragic consequences due to the trauma that has affected those children, an experience that is depicted by Jane Harrison in her play Stolen. The drama is the outcome of a six-year project on lost children and which was first performed in 1997 in Melbourne. Five actors only appear on the stage, playing the role of all the different characters, whether the main protagonists or the remaining cast, present or non-present ones as voices. The play outlines the life of five children who have been taken from their parents at an early age, entailing a disastrous negative impact that differs from one to the other. Unknown to each other, what connects between them is being put in a children’s home. The purpose of this paper is to analyse the play’s text in light of the 1948 Declaration of Human Rights, using it as a lens that reflects the atrocities practiced against the Aborigines. It highlights how such practices formed an outrageous violation of those natives’ rights as human beings. Harrison’s dramatic technique in conveying the children’s experiences is through a non-linear structure, fluctuating between past and present that are linked together within each of the five characters, reflecting their suffering and pain to create an emotional link between them and the audience. Her dramatic handling of the issue by fusing tragedy with humour as well as symbolism is a successful technique in revealing the traumatic memory of those children and their present life. The play has made a difference in commencing to address the problem of the right of all children to be with their families, which renders the real meaning of having a home and an identity as people.

Keywords: Trauma, Human Rights, Culture, Identity, Children, Memory, Indigenous, drama, Australia, audience, stage, setting, aboriginal, home, Jane Harrison, scenic effects, stage directions, Stolen

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5 Cognitive Behaviour Drama: A Research-Based Intervention Model to Improve Social Thinking in High-Functioning Children with Autism

Authors: Haris Karnezi, Kevin Tierney


Cognitive Behaviour Drama is a research-based intervention model that brought together the science of psychology with the art form of drama to create an unobtrusive and exciting approach that would provide children on the higher end of the autism spectrum the motivation to explore the rules of social interaction and develop competencies associated with communicative success. The method involves engaging the participants in exciting fictional scenarios and encouraging them to seek various solutions on a number of problems that will lead them to an understanding of causal relationships and how a different course of action may lead to a different outcome. The sessions are structured to offer opportunities to the participants to practice target behaviours and understand the functions they serve. The study involved six separate interventions and employed both single case and group designs. Overall 8 children aged between 6 to 13 years, diagnosed with ASD participated in the study. Outcomes were measured using theory of mind tests, executive functioning tests, behavioural observations, pre and post intervention standardised social competence questionnaires for parents and teachers. Collectively, the results indicated positive changes in the self esteem and behaviour of all eight participants. In particular, improvements in the ability to solve theory of mind tasks were noted in the younger group; and qualitative improvements in social communication, in terms of verbal (content) and non verbal expression (body posture, vocal expression, fluency, eye contact, reduction of ritualistic mannerisms) were noted in the older group. The need for reliable impact measures to assess the effectiveness of the model in generating global changes in the participants’ behaviour outside the therapeutic context was identified.

Keywords: autism, Intervention, drama, Social Skills

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4 Classical Myths in Modern Drama: A Study of the Vision of Jean Anouilh in Antigone

Authors: Azza Taha Zaki


Modern drama was characterised by realism and naturalism as dominant literary movements that focused on contemporary people and their issues to reflect the status of modern man and his environment. However, some modern dramatists have often fallen on classical mythology in ancient Greek tragedies to create a sense of the universality of the human experience. The tragic overtones of classical myths have helped modern dramatists in their attempts to create an enduring piece by evoking the majestic grandeur of the ancient myths and the heroic struggle of man against forces he cannot fight. Myths have continued to appeal to modern playwrights not only for the plot and narrative material but also for the vision and insight into the human experience and human condition. This paper intends to study how the reworking of Sophocles’ Antigone by Jean Anouilh in his Antigone, written in 1942 at the height of the Second World War and during the German occupation of his country, France, fits his own purpose and his own time. The paper will also offer an analysis of the vision in both plays to show how Anouilh has used the classical Antigone freely to produce a modern vision of the dilemma of man when faced by personal and national conflicts.

Keywords: drama, modern, myth, antigone, Sophocles, Anouilh, Greek tragedy

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3 Actresses as Eunuchs: The Versatility of Cross-Gendered Roles in Eighteenth-Century Orientalist Theatre

Authors: Anne Greenfield


Introductory Statement: During the eighteenth century in London, there were over two dozen theatrical productions that featured eunuchoid characters, most of which were set in 'Eastern' locales, including the Ottoman Empire, Persia, India, and China. These characters have gone largely overlooked by recent scholars, and more analysis is needed in order to illustrate the contemporary values and anxieties reflected in these popular and recurring figures at the time. Methodology: This paper adopts a New Historical and Cultural Studies approach to the subject of theatrical depictions of eunuchs, drawing insights from seventeenth- and eighteenth-century literary works, travel narratives, medical treatises, and histories of the age. Major Findings: As this paper demonstrates, there was a high degree of complexity, variety, and -at times- respect underlying orientalist theatrical depictions of eunuchs. Not only were eunuchoid characters represented in strikingly diverse ways in scripts, but these roles were also played by a heterogeneous group of actors and even actresses. More specifically, this paper looks closely at three actresses who took roles as eunuchs in tragedies: Mrs. Verbruggen (aka Mrs. Mountfort), Mrs. Rogers, and Mrs. Bicknell—all of whom were otherwise best known as comediennes. These casting choices provided an entertaining twist on the breeches roles these actresses often played. In fact, the staging and scripting of these roles, when analyzed through the lens of these cross-gendered roles, becomes ironic and comical in several scenes that are usually assumed (by recent scholars) to be thoroughly tragic. Conclusion: Ultimately, a careful look at the staging of eunuchoid characters sheds light on not only how these productions were performed and understood, but also on how writers and theatre managers navigated the Other, whether in gender identity or culture, during this era.

Keywords: Literature, drama, eunuch, actress

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2 Cognitive Behaviour Drama: Playful Method to Address Fears in Children on the Higher-End of the Autism Spectrum

Authors: H.Karnezi, K. Tierney


Childhood fears that persist over time and interfere with the children’s normal functioning may have detrimental effects on their social and emotional development. Cognitive behavior therapy is considered highly effective in treating fears and anxieties. However, given that many childhood fears are based on fantasy, the applicability of CBT may be hindered by cognitive immaturity. Furthermore, a lack of motivation to engage in therapy is another commonly encountered obstacle. The purpose of this study was to introduce and evaluate a more developmentally appropriate intervention model, specifically designed to provide phobic children with the motivation to overcome their fears. To this end, principles and techniques from cognitive and behavior therapies are incorporated into the ‘Drama in Education’ model. The Cognitive Behaviour Drama (CBD) method involves using the phobic children’s creativity to involve them in the therapeutic process. The children are invited to engage in exciting fictional scenarios tailored around their strengths and special interests. Once their commitment to the drama is established, a problem that they will feel motivated to solve is introduced. To resolve it, the children will have to overcome a number of obstacles culminating in an in vivo confrontation with the fear stimulus. The study examined the application of the CBD model in three single cases. Results in all three cases shown complete elimination of all fear-related symptoms. Preliminary results justify further evaluation of the Cognitive Behaviour Drama model. It is time and cost-effective, ensuring the clients' immediate engagement in the therapeutic process.

Keywords: autism, Intervention, drama, Phobias

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1 Modern Tragic Substance in O’Neill’s Desire under the Elms and Mourning Becomes Electra

Authors: Azza Taha Zaki


The position Eugene O’Neill occupies in the history of American drama is undisputable. Critics have agreed that the American theatre was waiting for O’Neill to give it substance, character, and value. The American dramatist continues to be considered as a major influence on the body of dramatic repertoire across the globe. The American theatre before O’Neill knew playwrights who were mostly viewed as entertainers. The serious drama had to wait until O’Neill started his career with expressionistic and social drama. His breakthrough, however, came in 1925 when he published Desire Under the Elms, described as the first important tragedy to be written in America. Mourning Becomes Electra, published in 1931, further reinforced the reputation of Eugene O’Neill and was described as his 'magnum opus'. Aspiring to portray the essence of life and man’s innermost conflicts, O’Neill turned to the classical model, rather than to social realistic drama, to create modern tragedies with the aid of the then-new science of psychology. The present paper aims to undertake an in-depth study of how overtones from classical tragedies by the classical masters Aeschylus, Sophocles, and Euripides resonate through O’Neill’s two plays. The paper shows how leaning on classical themes and concepts interpreted in terms of psychological forces have added depth and tragic substance to a modern milieu and produced masterpieces of dramaturgy.

Keywords: Classical, drama, modern, O'Neill, tragic

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