303, 331 34 (1991) (distinguishing epistemic from dramaturgic
uses of evidence); see also Risinger, supra note 3, at 431-46 (discussing the adversary fight to use irrelevant information for purposes of drama, and its limits).
generates, from out of its dramaturgic
potential, a strain of awkward
functions we understand for example the representation of moods and the enhancement or strengthening (mimicking) the expressions of the film characters.
The temporal and spatial content of the Fore narratives reflect the dramaturgic
form of epidemics, which is used as the framework for this discussion.
Ackroyd's own fiction is filled with the conventions of popular theatre, his prose, in the attentiveness to external, outward detail, its flamboyance, certainly in its pathos displays a dramaturgic
type of imagination.
elements that echo O'Casey's craft merit attention, Toibin's presentation of two aging widows, Lady Gregory and Mrs.
Xavier may have had his personal reasons for traveling as he did: Ines upanov is tempted to see in these journeys the dramaturgic
challenge of transcendence of self, or as Roberto de Nobile explained 'occasions to suffer for Our Lord Jesus Christ'.
Titled the Tristan Project, the program was more than an elongated concert version of an iconic opera thanks to nascent dramaturgic
and scenic elements - courtesy of director Peter Sellars and video artist Bill Viola - as well as the introduction of music influenced by ``Tristan'' - by Berg, Debussy or Kaija Saariaho - before each act.
This part of the book, I predict, has a drama to it that is the stuff of great theater and literature and when properly edited will compete with Inherit The Wind as a tense dramaturgic
Hence, the cases represented two sides of the same coin and followed the dramaturgic
trend of racial jurisprudence.
32) Like Singer, Turner emphasized the dramaturgic
quality of such moments, invoking the language of the stage, including, "performance, move, staging, plot .
It relies more on the power of the dramaturgic
moment: public enactments of suffering, confession, remorse, and forgiveness Written testimonies and formal legalistic petitions are part of the TRC record and process, but these are never completely acceptable without an appearance by the petitioners in symbolic face-to-face encounters with their victims and survivors.
In Reed's work, such a dramaturgic
and oral interpretive context is consistent with animistic practice.
Redonnet's esthetic is strongly rooted in the leading dramaturgic
mode of the second half of our century, metaphysical farce.
Putting together four grand Janacek orchestral pieces written between 1913 and 1926 on a single disc (co-produced by Supraphon and Czech Radio) is a praiseworthy dramaturgic
accomplishment in its own right.