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42 results for “drama”
Drama Critiques' Database
<p><strong>Drama Critiques </strong>gathers 10 years (2010 – 2020) of London contemporary theatre reviews. By focusing on two literary communities (journalists on the one hand and bloggers on the other hand), this corpus enables one to examine the poetical and political discourse journalistic and digital reviewers build. While our initial corpus is composed of more than 43 000 theatre reviews, the version made available here is constituted of 36 766 reviews. This is explained by the fact that we still have not received the authorisation of some of the bloggers to publish their data in open access. To have more information about our project, the different analyses of the corpus can be found here: <a href="https://dramacritiques.com/en/home/">https://dramacritiques.com/en/home/</a></p> <p>The corpus based on journalism was created thanks to <em>Theatre Record</em>, a paper magazine originally created by the English critic Ian Herbert. <em>Theatre Record</em> reprints in full all the national drama critics’ reviews of the latest productions in and out of London. Published every two weeks in England since January 1981, it is in January 2019 that its archives were digitized thanks to Julian Oddy (<a href="https://www.theatrerecord.com/">https://www.theatrerecord.com/</a>). We have selected 23 newspapers in total which correspond to 21 717 theatre reviews. All of them were initially available in a PDF format. After having converted all the files in a textual format, a massive work of automatic and manual corrections was done on each of the files. This task represents more than 1050 hours of work.</p> <p>The corpus based on blog platforms is constituted of the most popular 28 blog platforms on the Internet. They can be divided into two sub-categories: collective blog platforms on the one hand, and individual blog platforms on the other. Either these digital platforms are run by a publisher who invites other reviewers to post on his website, or the publisher publishes all of his reviews himself. In both cases, these authors are not paid for their activity, the content of their blog does not have a printed version and is completely free. In this version there are 21 blogs, or 15 049 reviews. All of them were automatically extracted thanks to web scraping techniques before being corrected (250 hours of work). You can discover more about each blog here: <a href="https://dramacritiques.com/en/categories-2/the-corpus/">https://dramacritiques.com/en/categories-2/the-corpus/</a></p>
Drama Critiques
<p><strong>Drama Critiques </strong>gathers 10 years (2010 – 2020) of London contemporary theatre reviews. By focusing on two literary communities (journalists on the one hand and bloggers on the other hand), this corpus enables one to examine the poetical and political discourse journalistic and digital reviewers build. While our initial corpus is composed of more than 43 000 theatre reviews, the version made available here is constituted of 36 766 reviews. This is explained by the fact that we still have not received the authorisation of some of the bloggers to publish their data in open access. To have more information about our project, the different analyses of the corpus can be found here: <a href="https://dramacritiques.com/en/home/">https://dramacritiques.com/en/home/</a></p> <p>The corpus based on journalism was created thanks to <em>Theatre Record</em>, a paper magazine originally created by the English critic Ian Herbert. <em>Theatre Record</em> reprints in full all the national drama critics’ reviews of the latest productions in and out of London. Published every two weeks in England since January 1981, it is in January 2019 that its archives were digitized thanks to Julian Oddy (<a href="https://www.theatrerecord.com/">https://www.theatrerecord.com/</a>). We have selected 23 newspapers in total which correspond to 21 717 theatre reviews. All of them were initially available in a PDF format. After having converted all the files in a textual format, a massive work of automatic and manual corrections was done on each of the files. This task represents more than 1050 hours of work.</p> <p>The corpus based on blog platforms is constituted of the most popular 28 blog platforms on the Internet. They can be divided into two sub-categories: collective blog platforms on the one hand, and individual blog platforms on the other. Either these digital platforms are run by a publisher who invites other reviewers to post on his website, or the publisher publishes all of his reviews himself. In both cases, these authors are not paid for their activity, the content of their blog does not have a printed version and is completely free. In this version there are 21 blogs, or 15 049 reviews. All of them were automatically extracted thanks to web scraping techniques before being corrected (250 hours of work).</p>
Pivot subtitling of Korean dramas on Netflix Türkiye between 2015 and 2023
<p>This dataset complements the research article <em>Pivot Subtitling on Netflix: the Case of Squid Game </em>(Dallı, 2024) and provides comprehensive information on Korean dramas and their subtitlers on Netflix Türkiye from 2015 to 2023. It also includes an analysis report derived from the raw findings. The data was manually compiled in January 2024.</p> <p>The dataset comprises the following files:</p> <ol> <li><strong>turkish-subtitlers-of-korean-content-on-netflix:</strong> This file provides raw data on Korean dramas, including Netflix release date, title, episode count, assigned subtitlers, number of subtitlers involved, and translation methods (subtitling or dubbing).</li> <li><strong>pivot-subtitling-on-netflix_the-case-of-squid-game:</strong> This R Markdown file offers an analysis report examining the yearly trends of Korean dramas released on Netflix Türkiye and the average number of Turkish subtitlers per drama.</li> </ol> <p>This dataset is designed to help understand trends in the release of Korean dramas on Netflix, with a particular focus on Turkish subtitlers. It is valuable for researchers, practitioners, and industry stakeholders interested in Korean content and pivot subtitling, providing insights into the distribution dynamics and subtitling trends in Korean media.</p> <p>Keywords: pivot subtitling, pivot templates, pivot audiovisual translation, indirect translation, Korean dramas, Turkish subtitlers, <em>Squid Game</em>.</p> <p>Dallı, H. (2024). Pivot Subtitling on Netflix: the Case of Squid Game. <em>Journal of Audiovisual Translation</em>, <em>7</em>(1).</p>
Phrasal repetitions in early modern drama
<p>This spreadsheet lists play pairs of the early modern period according to a variety of n-gram weighting measures in Martin Mueller’s corpus Shakespeare His Contemporaries</p>
Reception of the values of the Aeschylus drama and mnemonic imprints by ancient tragedy spectators
<p>Data and questioner from VAST programme (Grant agreement No 101004949). The participants of the study completed a questionnaire of open and closed questions specially created in terms of subject matter and targeting by a three-member independent team of Professors from various universities in Greece (pretest). The same questionnaire was answered six months after the viewing of the show by the same spectators (December 2021-January 2022) (posttest).</p>
TextGrid Dramas in UIMA XMI
<p>688 dramatic texts, automatically preprocessed with POS, NER, Lemmas. Converted into Apache UIMA XMI format.</p>
French Classical Drama: Topics and Subgenres
<p>This dataset consists of a table describing 5841 samples from French Classical drama, their subgenre, form and other metadata, as well as the scores of 60 different topics. Each topic is illustrated in the table only through its three most frequent words. </p> <p>The dataset was created for and used in the following paper: Schöch, Christof. “Topic Modeling Genre: An Exploration of French Classical and Enlightenment Drama”, Digital Humanities Quarterly 11, no. 2 (2017): §1-53. <a href="http://www.digitalhumanities.org/dhq/vol/11/2/000291/000291.html">http://www.digitalhumanities.org/dhq/vol/11/2/000291/000291.html</a>. </p> <p>From the paper: "The collection of plays used for the research presented here is a subset of the Théâtre classique collection, defined by the following criteria: Only plays from the period between 1630 and 1789 were included, because the collection contains only a comparatively small number of plays for the decades before and after these dates. Plays have only been included if they have between three and five acts, effectively excluding a certain number of one-act plays, in order for the plays to have a similar length and a comparable plot structure. Finally, all the plays included belong to one of the following subgenres: comedy, tragedy or tragicomedy. For most of the other relevant genres, only a relatively small number of examples is available. These criteria resulted in a collection of 391 plays (150 comedies, 189 tragedies, and 52 tragicomedies in verse or in prose), corresponding to approximately 5.6 million word tokens or 31 MB of plain text. For the purposes of this study, the plays have been split into smaller segments, resulting in 5840 documents used for Topic Modeling (see details below)." </p> <p>Note that the full texts are not included here, but more data is available and linked to in the paper. </p> <p> </p>
Mr Burns: a post-electric play written by Anne Washburn / A tertiary performance staged by Te Kura o Toi Whakaari: NZ Drama School
<p>DIRECTOR</p> <p>Stella Reid</p> <p>MUSICAL DIRECTOR</p> <p>Hayden Taylor</p> <p>PRODUCER</p> <p>Natasha James</p> <p>CHOREOGRAPHER</p> <p>Stella Reid</p> <p>FIGHT CHOREOGRAPHY</p> <p>Shane Rangi</p> <p>LIGHTING DESIGNER</p> <p>Grace Newton</p> <p>SOUND DESIGNER</p> <p>Oliver Devlin</p> <p>DIALECT COACH</p> <p>Jacque Drew</p> <p>SET DESIGNER</p> <p>Eden Winters</p> <p>COSTUME DESIGNER</p> <p>Tessa Saunders</p> <p>ASSISTANT SOUND DESIGNER</p> <p>Jade Alborn</p> <div> <p>PRODUCTION TEAM</p> <p>PRODUCTION MANAGER</p> <p>Olivia Cowley</p> <p>STAGE MANAGER</p> <p>Michael Lyell-O'Reilly</p> <p>HEAD MECHANIST</p> <p>Caleb Grainger</p> <p>PUTY STAGE MANAGER/SHOW CALLER</p> <p>Sarah Davitt</p> <p>DEPUTY STAGE MANAGER</p> <p>Joseph McAllum</p> <p>PRODUCTION ASSISTANT</p> <p>Isla McLarin</p> <p>MECHANIST</p> <p>Eilidh Hamilton</p> <p>MECHANIST</p> <p>Jack Tankersley</p> <p>SOUND OPERATOR/ENGINEER</p> <p>Paige Johns</p> <p>LIGHTING OPERATOR</p> <p>Luci McDougall</p> <p>COSTUME SUPERVISORS</p> <p>Sally Huges-Allen, Maysie Pyatt, Evan Stone, Kaitlyn Jacobs</p> <p> </p> <p>PRODUCTION TEAM</p> <p>COSTUME CONSTRUCTION</p> <p>Maxence Benoist, Lillian Denness,</p> <p>Renske Gordon, Evie Howard, Maria McCarthy, Dottie Olsen, Mikkel Rivett,</p> <p>Hannah van den Eikhof, Jordyn Williams</p> <p>SET CONSTRUCTION & SCENIC PAINTING</p> <p>Emile Commarieu, Molly Friis, Azalea Lewis-Milne, Lora Nankivell, Grace O'Brien, Weston Symes</p> <p> </p> <p> </p> <p>CAST</p> <p>ZACHARY BELL - МАТТ/ACT II, HOMER/ACT III CHORUS</p> <p>BRAYDEN CRESWELL- GIBSON/SIDESHOW BOB, FIRST FBI AGENT / TROY MCCLURE</p> <p>FIPE FOAI - ACT III BART</p> <p>EMILIO FUENTES MANCILLA - ACT III LISA/APU</p> <p>KIMIORA HONEYCOMBE - JENNY ACT II, MARGE/ACT III CHORUS</p> <p>JUSTICE KALOLO - SAM ACT II, BART/ACT III, CHORUS /ACT III SCRATCHY</p> <p>SARAH LAWRENCE - COLLEEN, ACT III CHORUS</p> <p>MAIZY METEKINGI - ACT III MARGE/FLANDERS</p> <p>IZZIE NEWTON-CROSS - ITCHY/NELSON</p> <p>SUGAR REA-BRUCE MARIA/ACT II, LISA/2ND FBI AGENT/EDNA KRABAPPEL</p> <p>TAMAHOU TEHEI - ACT III HOMER / WILLY</p> <p>PARIS TUIMASEVE-FOX - QUINCY/ACT II, MAGGIE/ACT III CHORUS</p> <p>CASSIDY KEMP-WOFFENDEN - MR BURNS</p> <p>IAN BLACKBURN - MR BURNS SWING</p> </div>
Evolutive Dynamics in Early Modern European Drama: Reproduction Materials
<p>The ZIP archive contains all materials necessary to reproduce/replicate workflows and results from this work:</p> <blockquote> <p>Luca Giovannini, <em>Evolutive Dynamics in Early Modern European Drama: A Computational Approach</em>, PhD dissertation, Universität Potsdam and Università di Padova, 2024.</p> </blockquote> <p>The archive is a copy of <a href="https://github.com/lucagiovannini7/emdracor" target="_blank" rel="noopener">this GitHub repository</a> and contains the following folders:</p> <ul> <li><code>tei</code>: 150 early modern European plays, encoded in XML-TEI, composing the EmDraCor corpus. This folder, together with the <code>corpus.xml</code> file, can be used to (re)build the corpus on a dockerised version of DraCor (Börner et al., 2023b) through the <a href="https://github.com/dracor-org/stabledracor" target="_blank" rel="noopener">StableDraCor</a> Python library.</li> <li><code>scripts</code>: several commented Python scripts for corpus building, metadata enrichment, and analysis.</li> <li><code>metadata</code>: metadata tables, retrieved from the API and enriched through scripts, and other useful files. Most computations carried out in the dissertation can be performed directly on these tables, without need for dockerisation.</li> <li><code>legacy</code>: deprecated XML files.</li> </ul>
PTVD: A Large-Scale Plot-Oriented Multimodal Dataset Based on Television Dramas
<p>Art forms such as movies and television (TV) dramas are reflections of the real world, which have attracted much attention from the multimodal learning community recently. However, existing corpora in this domain share three limitations: <strong>i.</strong> annotated in a scene-oriented fashion, they ignore the coherence within plots; <strong>ii.</strong> their text lacks empathy and seldom mentions situational context; <strong>iii.</strong> their video clips fail to cover long-form relationship due to short duration. To address these fundamental issues, using 1,106 TV drama episodes and 24,875 informative plot-focused sentences written by professionals, with the help of 449 human annotators, we constructed PTVD, the first plot-oriented multimodal dataset in the cinema domain.</p>
Social Skills in Children With ASD and Process Drama
ClinicalTrials.gov study NCT02850666. IPD Sharing: NO. Countries: 1. Publications: 3.
Assessment of a Drama Workshop Program for Immigrant and Refugee Adolescents
ClinicalTrials.gov study NCT01426451. IPD Sharing: Not stated. Countries: 1. Publications: 1.
Creative Touch in Menstrual Attitude and Hygiene Behavior: A Drama Intervention
ClinicalTrials.gov study NCT07026396. IPD Sharing: NO. Countries: 1. Publications: 3.
Perceptions of Student Nurses About Professional Nursing Values of Creative Drama Education
ClinicalTrials.gov study NCT06875531. IPD Sharing: NO. Countries: 1. Publications: 0.
The Effect of Creative Drama on the Level of Mental Health Literacy
ClinicalTrials.gov study NCT05758155. IPD Sharing: YES. Countries: 1. Publications: 1.
The Effect of Creative Drama Education's Effects Tendencies and Emotion Management Skills
ClinicalTrials.gov study NCT06505785. IPD Sharing: NO. Countries: 1. Publications: 2.
Increasing Midwifery Students' Awareness of Breast and Gynecological Cancers Using Creative Drama Method
ClinicalTrials.gov study NCT07073599. IPD Sharing: NO. Countries: 1. Publications: 1.
Building Social Skills With Interdisciplinary Process Drama in ASD
ClinicalTrials.gov study NCT03536351. IPD Sharing: NO. Countries: 1. Publications: 3.
Knowledge of Nursing Theories of Teaching With Creative Drama in Fundamentals of Nursing Course Level and Perception of Nursing Profession
ClinicalTrials.gov study NCT06485570. IPD Sharing: NO. Countries: 1. Publications: 1.
THE SPECIFIC FEATURES OF TEACHING DRAMA IN ENGLISH LITERATURE CLASSES: CLASSIC AND MODERN PLAYS
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