Of an Apocalyptic Tone Recently Adopted in Theatre: British Drama, Violence and Writing by Dan Rebellato

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Le vers comme indice d'artificialité dans le théâtre de T.S. Eliot : The Confidential Clerk by Daniel Jean

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“Me will homa to France and no be hanged in a strange country”: Comic French Villains in Late Elizabethan Drama by Charles Whitworth

“…Les personnages principaux que sont Pedro dans The Wounds of Civil War de Lodge et Jaques dans James IV de Greene sont traités différemment par les deux dramaturges. …”
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The Auto/biographical Nature of Ukrainian Women’s Literature on the War in Donbas by Anna Gaidash

“…In the close reading of Natal’ya Vorozhbit’s drama Bad Roads (2017), Yevgeniya Podobna’s book of stories and memoirs titled Girls Cutting Their Locks (2018), and Tamara Duda’s novel Daughter (2019), the author of the article examines the relations between subject and object of the Donbas war texts in the framework of their creation, auto/biographic nature, gender optics, and therapeutic effect. …”
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Witnessing Trauma in Simon Stephens’ Motortown by Mesut Günenç

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Les poilus parlaient patois by Jean-Baptiste Martin

“…This wide range of texts (letters, poems, dramas, patriotic songs, prose) brings a new perspective on the Great War.…”
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Corps mécanique et pensée-mouvement : les marionnettes animales de la Handspring Puppet Company by Noémie Lorentz

“…Exposed mechanisms, artificial life, animated objects: this paper aims to question the specificity of the medium at the heart of two performances: The chimp project (2000) and War Horse (2007). What does the staging of puppets entail regarding the question of porosity between the animal and the human? …”
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Violence et vision : The Dynasts de Thomas Hardy by Laurence Estanove

“…The Dynasts, Thomas Hardy’s « epic-drama of the war with Napoleon, » is remarkable in its use of poetic and literary stage directions. …”
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Shakespeare en prison : le cas d’Avignon by Florence March

“…It will first deal with the decisive encounter of Shakespeare’s drama with prison in Avignon’s Papal Palace in 1947 – an encounter that acts as a catalyst for the festival’s ethos and aesthetics. …”
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Kościół na drodze ku „Nostra Aetate”.Zarys relacji chrześcijańsko-żydowskich w XX w. przed II wojną światową by Andrzej Tulej

“…The historical context were the Russian revolutions, World War I, the fascist movements. The Church's statements intensified when, at the turn of the 1920s and 1930s, the National Socialist Party grew stronger, taking over power in Germany in 1933, leading to the tragedy of World War II and the drama of the Holocaust (Heb. …”
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Pierre Miremont (1901-1979) : un félibre oublié du félibrige ? by Cecile Noilhan

“…Half of them were written in the prisoner of war camps.…”
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Histoire, mémoire et tribus ou les aarch de 2001 en Kabylie by Nassim Amrouche

“…The riots that have bloodstained Kabylie in the spring of 2001 have raised different problematics. Beyond the human drama which has resulted in more than a hundred deaths and a thousand wounded, this contestation formulated itself around an anachronic organization: the aarch. …”
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Non-Fiction from a Historical Perspective: Situation of Lithuanian Statemen Amid Tragic Events of 1940–1941 by Юрате Ландсберґіте-Бехер

“… Non-fiction literature has become the crucial historical drama of the present, with its power to change the fate of the state and its interpretations. …”
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Traum-A-Rhythmia On Debbie Tucker Green’s In-Yer-Ear Stage by Lea Sawyers

“…AIDS, genocides, domestic violence, incest, civil wars, public executions are all accessed through the prism of deeply personal subjective human experience. …”
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Jogos, sociabilidade e conflito no Brasil by Édison Gastaldo, Everardo Rocha, Adriana Braga

“…However, it should be noted that game-like situations show a great potential for the expression of social dramas, as they develop the passion they raise out of the dramatic tension of the conflicts they represent. …”
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”If you don't care you’ll die” : The Concept of “Liveness” in Arnold Wesker’s Chicken Soup with Barley and John Osborne’s Look Back in Anger by Sarah-jane Coyle

“…Both plays represent dramas of emotion and were written by members of the “angry young men” movement, a term denoting a group of working-class dramatists, who used their work to express frustration with Britain’s outdated class system and post-war society. …”
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