Reading Collage Drama as Documentary Drama: Trash Archives andDissensusin Charles L. Mee’s Lives of the Artists

Modern Drama ◽  
2015 ◽  
Vol 58 (2) ◽  
pp. 218-237
Author(s):  
Timothy Youker
Keyword(s):  
Documentary Drama ◽  
Lives Of The Artists

scholarly journals The Forgotten 1979 MoMA Sound Art Exhibition

Resonance ◽  
2020 ◽  
Vol 1 (1) ◽  
pp. 25-46
Author(s):  
Judy Dunaway
Keyword(s):  
New York ◽  
Sound Art ◽  
Museum Of Modern Art ◽  
Art Exhibition ◽  
Feminist Performance ◽  
The Past ◽  
Research Interviews ◽  
The Voice ◽  
Lives Of The Artists ◽  
Physical Manifestation

Over the past 40 years “sound art” has been hailed as a new artistic category in numerous writings, yet one of its first significant exhibitions is mentioned only in passing, if at all. The first instance of the hybrid term sound art used as the title of an exhibition at a major museum was Sound Art at the Museum of Modern Art in New York (MoMA), shown from 25 June to 5 August 1979. Although this was not marketed as a feminist exhibition, curator Barbara London selected three women to exemplify the new form. Maggi Payne created multi-speaker works that utilized space in a sculptural fashion; Connie Beckley combined language and sounding sculptural objects, showing sound in both a conceptual and physical manifestation; and Julia Heyward’s work used aspects of feminist performance art including music, narrative, and the voice in order to buck abstract aesthetics of the time. This paper uses archival research, interviews, and analysis of work presented to reconstruct the exhibition and describe the obstacles both the artists and the curator encountered. The paper further provides context in the lives of the artists and the curator as well as the surrounding artistic scene, and ultimately exposes the discriminatory reasons this important exhibition has been marginalized in the current discourse.

Art in Renaissance Florence

2013 ◽  
Author(s):  
Sarah Blake McHam ◽  
Stephen Mack
Keyword(s):  
20Th Century ◽  
Considerable Degree ◽  
16Th Century ◽  
14Th Century ◽  
Works Of Art ◽  
The Family ◽  
Renaissance Florence ◽  
Art And Architecture ◽  
The City ◽  
Lives Of The Artists

Florence was a crucial locus for developments in Italian art throughout the peninsula in the period between 1300 and 1600, and so this article will concern itself with art created in the city rather than by Florentine artists working outside of Florence. To a considerable degree, the pervasive influence of Giorgio Vasari’s Lives of the Artists (1550, 1568) affected all later historiography, which followed the patriotic Florentine in his claims that everything of importance throughout the Renaissance originated in the city and spread from there elsewhere. That myth was challenged only in the latter part of the 20th century. Nevertheless, no matter how Vasari exaggerated Florence’s importance, the city was a major center. It was wealthy particularly from the wool trade and through dominance in banking throughout Europe, and the city’s humanists early advised private and corporate patrons about the advantages to their reputations and to that of the city of commissioning art and architecture. Although in the 14th century, Florence was governed as a guild republic, and the major guilds commissioned most of the major works of art, by 1434, Cosimo de’ Medici rose to power, and thereafter except for brief intervals (1494–1512; 1527–1530), the Medici family controlled the city. In the mid-16th century, the family consolidated its power and ruled over all of Tuscany as grand dukes, and changed the nature of commissions to those flattering its rule.

Defending the Dissidents in Paris, Munich, and New York: Ceremony in Bohemia and the 1979 Show Trial of Charter 77

2013 ◽  
Vol 54 (3) ◽  
pp. 367-387
Author(s):  
Sarah Guthu
Keyword(s):  
New York ◽  
Recent Trial ◽  
The Press ◽  
Charter 77 ◽  
The Republic ◽  
Documentary Drama

In late 1982, a documentary drama entitled Ceremony in Bohemia was produced Off-Off Broadway at the Greenwich House Theatre in New York. The play offered U.S. audiences a glimpse behind the closed doors of a tiny courtroom on Spálená Street in Prague in Czechoslovakia. The production presented an account of the recent trial of six Czechoslovak activists who had been found guilty of “subversion of the Republic” and been sentenced, collectively, to nineteen-and-a-half years in top-level prisons. Their only crime was that they had protested unjust trials like their own. The press and all foreigners were barred from the trial. Only a few witnesses were allowed inside the courtroom to observe the trial, which lasted only two days.

scholarly journals Features and specificity of creating a script for a television documentary drama

2020 ◽  
Vol 65 (3) ◽  
pp. 328-335
Author(s):  
N. G. Stezhko
Keyword(s):  
Best Practices ◽  
Historical Documents ◽  
Documentary Films ◽  
Historical Sources ◽  
Feature Film ◽  
Feature Films ◽  
Life Challenges ◽  
Television Documentary ◽  
Documentary Drama ◽  
Additional Figure

The author analyses the specifics of writing a script for a television documentary drama (hereinafter referred to as docudrama), which combines the characteristics of the feature and documentary films. The article points out that many books have been written about the rules of scriptwriting for a feature film. However, there is no literature on the art of scriptwriting for a docudrama despite the fact that there are numerous docudramas being created worldwide. The opinion is given that the mastery of the docudrama scriptwriting is in choosing the most interesting and paradoxical moments in a hero’s life and showing his or her character through the resistance to life challenges: how the hero overcomes them, the motivation behind their actions and why a particular choice is being made. While in feature films the narrative is presented through action and actors’ performances, the article emphasises that docudramas explain the hero’s motivations through an additional figure such as an expert or co­participant in the events. While the difficult moments in the hero’s life and their overcoming are usually depicted through the staged episodes, an exploration into the hero’s character is supported by historical documents, a chronicle or other genuine historical sources. Docudrama is inherently narrative and the author investigates how the best practices of television journalism are used in scriptwriting, in addition to the cinema laws that are used in creating an image. The author explores the methodology of the docudrama scriptwriting in the project “Countdown” (“Vladimir Bokun’s Workshop”,Belarus) as an example.

Introduction

2016 ◽  
Author(s):  
Kevin Brazil ◽  
David Sergeant ◽  
Tom Sperlinger
Keyword(s):  
Short Stories ◽  
Literary Criticism ◽  
Literary Form ◽  
Historical Change ◽  
New Work ◽  
Post War ◽  
Documentary Drama ◽  
Serial Fiction

‘It’s a question of form’ (1993: 418). So declares frustrated writer Anna Wulf, in what remains Lessing’s most celebrated novel, The Golden Notebook. As this volume shows, the attempt to find forms which might record, model and engage historical change and all that it entails is one that persists throughout the six decades spanned by Lessing’s writing. The chapters that follow attend to the full weight of Anna’s statement: when Lessing’s writing turns towards history it is not simply a question of finding the literary form that might best represent it; rather it involves questioning the very relationship between form and history, as they are brought together afresh in each new work. These questions might be common to literary criticism, but the chronological breadth of Lessing’s career, and its sheer variety and productivity, makes them both particularly pressing and particularly enlightening in her work. As she moves from colonial Rhodesia to post-war Britain, and from war-torn Afghanistan to our posthuman future, her work employs the full panoply of techniques, modes, genres and effects that we refer to as forms: short stories, realism, serial fiction, documentary, drama, jokes, Sufi tales, reportage – and more....

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