Between Drama and Postdrama by Ina Pukelytė

“…The example of a performance of Wartists is aimed to show that the text of this performance can be treated as a postdrama, since it is caused not by a playwright but by a creative collaboration between the director, the actors and the playwright. …”
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Les Vanités dans le théâtre de Calderòn by Didier Souiller

“…The Spanish playwright Calderòn de la Barca (1600-1681) shares the same religious vision with the Siglo de Oro period, made of stoicism and Christian ascetism : Everyman « walks among the shades of death ». …”
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Language, identity, and translation in J. M. Synge’s The Playboy of the Western World by Chang, Hawk

“…John Millington Synge’s play The Playboy of the Western World features the playwright’s adoption of Hiberno-English, a mixture of English and Irish, to highlight a peculiar Irish identity. …”
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A Foucauldian Reading of Fathia al-Assal's The Women's Prison by Mahmoud El Bagoury, Galal Mohamed Naguib

“…This study examines how the theoretical insights and ideologies of the French sociologist Michel Foucault are contextualized in the Egyptian playwright Fathia al-Assal’s play The Women’s Prison (1993) in which institutions prove to be containers of power structures, punitive forms, strict social and political disciplines, and modes of resistance. …”
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Cyborg theory: the making of Haar Wese by Corbett, SR

“…The term, playwright, is used outside of its traditional literary function to provide multidimensionality to the writer (programmer) of Individual Sovereignty, Haar Wese. …”

Le théâtre de David Edgar ou les coulisses de la politique by Marianne Drugeon

“…David 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. …”
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The Synthesis of Theater and Poetic Art in the S.A. Yesenin’s Dramatic Poem “Pugachev” by Alla A. Nikolaeva

“…Yesenin’s innovation as a playwright was clearly manifested in the fact that he combined the features of poetic and theatrical art in a dramatiс poem “Pugachev,” putting forward the idea of the supremacy of the sounding word. …”
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“Recalled to Life”: Postmodernism in Lennox Robinson’s The Lost Leader (1918) by Joseph M. Greenwood

“…Focusing on the 1918 play, The Lost Leader (in which the central character, may, or may not be, the “resurrected” Charles Stewart Parnell), the article explores Robinson’s subversion of dramatic protocols, highlighting the playwright’s use of techniques, primarily associated with postmodernism (intertextuality, an open form, self-reflexivity, metatheatre). …”
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Wilder’s Joyce: Inspiration, Borrowing, Appropriation, Plagiarism by S. E. Gontarski

“…American novelist and playwright Thornton Wilder’s lifelong attraction to and passion for if not obsession with the work of James Joyce has led to unintended consequences. …”
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Between Two Worlds: Shakespeare the Ordinary Man and Artist by Ana-Maria IFTIMIE

“…Jude Morgan’s novel, The Secret Life of William Shakespeare, is a work of biofiction that deals with the playwright’s life from shortly before he met Anne Hathaway up to the year 1603, highlighting private aspects such as the relationships with his family and friends – and even his rivals. …”
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« Le moelleux, la chaleur, ce sont les femmes ! » : figures de femme dans Il pleut dans ma maison et Off et la lune de Paul Willems by Karolina Tymura

“…Paul Willems, 20th-century Belgian playwright, did not shy away from showing many female figures in his plays, and he did so with great attention to detail. …”
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The Dialogue of a Literary Artist with His Art: by Issa Omotosho Garuba

“…The writing process is, therefore, construed as a psychotherapeutic process through which the playwright is able to purge himself of the psychological disturbances from which he presumably suffers. …”
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Artificial and Live Actors in Luigi Pirandello’s Play Giants of the Mountain by Alexandra M. Bibikova

“…The interaction of human and non-human actors in the analyzed play illustrates the idea of the playwright about the relativity of life and art, the real and the fantastic that have no clear-cut boundaries between them. …”
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Using geosciences and mythology to locate Prospero's island by T. Lanza

“…This underlines once again how deep the playwright's knowledge of Italy was. It also suggests that this part of the Mediterranean was known, at the time of Shakespeare, as the theatre of phenomena originated in the volcanism of the area. …”
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Anger, Faith and Bewildered Fragments of Self: The Shaping of Ethos in an Argentinean Translation of Sarah Kane’s 4.48 Psychosis by Maria Laura Spoturno, Mariano Zucchi

“…4.48 Psychosis is British playwright Sarah Kane’s final play. Its opening took place at the Royal Court Theatre Upstairs in London in June 2000, only a few months after Kane’s suicide at King’s College Hospital. …”
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Philosophy and the Philosophers in Tom Stoppard’s Later Plays

“…Wilson are named by the playwright himself as the authors of the books, Stoppard is ‘in debt to’, ‘as for the science in The Hard Problem’. …”
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Between occultism and drama. Henrik Ibsen and Aleister Crowley by Giuliano D' Amico

“…Crowley’s reading of Ibsen has a marked a socio-political bent, especially in his interpretation of the work of the Norwegian playwright as an act of rebellion against the bourgeois (and for Crowley, Victorian) system of values. …”
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The literary and translatory perception of A. N. Ostrovsky’s play "Without a dowry" in China by Mengqi Shen, Galina I. Modina

“…The play belongs to the late period of the playwright's work and is characterised by a complex genre. …”
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Meng Jinghui’s adaptations of Vladimir Mayakovsky’s plays by Jingling Liu, Irina V. Monisova

“…Vladimir Mayakovsky’s dramatic heritage has had a great impact on Chinese avant-garde director and playwright Meng Jinghui. The study traces the stages of Mayakovsky’s presence in Chinese theater art to focus on Meng Jinghui’s three productions of “The Bedbug” (2000-2017). …”
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Peur et Amour, émotions sémiotisées dans la scène Communion de KWAHULE Koffi by Sara KHETTAL

“…The dominant emotion in this scene is the implicit passion announced in the title. The playwright arouses the experience of love in his spectator/reader. …”
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