An Introduction to the Dramatic Works of Giacomo Meyerbeer: Operas, Ballets, Cantatas, Plays. By Robert Ignatius Letellier.

2010 ◽  
Vol 91 (3) ◽  
pp. 441-444
Author(s):  
C. Rowden
2020 ◽  
Vol 2 (3) ◽  
pp. 205-209
Author(s):  
O‘g‘iljon Abduvaliyeva ◽  

Incomplete reduplication is a type of repetition in which one of the components is not used independently, but only gives a general meaning to the meaning. Inaccurate reductions are widely used, especially in oral speech. The use of this type of vocabulary in prose and dramatic works, which is often used in colloquial speech, serves to increase their naturalness and attractiveness.


2020 ◽  
Vol 24 (03) ◽  
pp. 311-317
Author(s):  
Mavlanova Ugiloy Khamdamovna ◽  
Ruzieva Dilfuza Salimboevna ◽  
Babaeva Vasila Toshpulatovna
Keyword(s):  

Author(s):  
Gabriela Cruz

Grand Illusion is a new history of grand opera as an art of illusion facilitated by the introduction of gaslight illumination at the Académie Royale de Musique (Paris) in the 1820s. It contends that gas lighting and the technologies of illusion used in the theater after the 1820s spurred the development of a new lyrical art, attentive to the conditions of darkness and radiance, and inspired by the model of phantasmagoria. Karl Marx, Walter Benjamin, and Theodor Adorno have used the concept of phantasmagoria to arrive at a philosophical understanding of modern life as total spectacle, in which the appearance of things supplants their reality. The book argues that the Académie became an early laboratory for this historical process of commodification, for the transformation of opera into an audio-visual spectacle delivering dream-like images. It shows that this transformation began in Paris and then defined opera after the mid-century. In the hands of Giacomo Meyerbeer (Robert le diable, L’Africaine), Richard Wagner (Der fliegende Holländer, Lohengrin, and Tristan und Isolde), and Giuseppe Verdi (Aida), opera became an expanded form of phantasmagoria.


2020 ◽  
Vol 8 (2) ◽  
Author(s):  
Elena Proskurina

This review raises a set of important issues. The use of contextual, motif, and “evidence-based” methods make it possible to identify hidden semantic layers which are hard to discern in Platonov’s late plays at first. The authors manage to demonstrate both the peculiarities of the plot of Platonov’s late dramas and their connection with the writer’s creative work as a whole. Particularly important is the autobiographical context which significantly enriches the “semantic environment” of the works analysed. It is based on Platonov’s family drama related to the arrest and premature death of his son Platon. The study reveals various ways of inclusion of the “son motif ” in the plays Voice of the Father, A Magical Being, and A Student of the Lyceum. The analysis of the play Noah’s Ark turns out to be less interesting, which is largely due to the fact of its being unfinished and, thus, lacking artistic perfection. The stylistic originality of Platonov’s late creative work and its artistic distinction from the works of the 1920s – 1930s remain outside the authors’ framework of reflection. This range of issues may serve as a future focus of study.


2021 ◽  
Vol 2 (1) ◽  
pp. 13-19
Author(s):  
Nigora Adizova Bakhtiyorovna ◽  
Nodira Adizova Bakhtiyorovna

This article focuses on A. Obidjon, who played a special role in the development of children's poetry and prose. At the same time, the artist, who thinks about the development of Uzbek children's drama, has created a dramatic epic, a play. Anvar Obidjan is an artist who has enriched not only children's prose and poetry, but also dramaturgy, as a children’s poet, known as a prose writer, he won the admiration of his fans with his dramatic works


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