Abstract This three-page undergraduate paper discusses two Greek dramatists, Aeschylus and Sophocles who made significant contributions to the development of drama. Aeschylus wrote what a Greek tragedy ought to be as a religious union of the two elements of the national poetry. Sophocles, with his just perception of the beautiful in art, effected an outward realization of the conceptions of the great master.
Abstract An analysis of the use of mythology by Sophocles. The author discusses the use of myths in Ancient Greece to define gods and their laws, showing the terrible consequences of disobeying them and forming the structure of society and politics. The author discusses Sophocles, a Greek dramatist and his use of myths and religious rituals. Included is an analysis of Sophocles' play "Antigone".
From the Paper "Unlike his contemporaries, Sophocles based his tragedies on human actions and reactions, rather than on divine influence. He does not, however, ignore the gods or say they do not play a role. He uses them to show the human limits and possibilities. The Sophoclean gods thus are placed in the background of the plot, influencing it but not interfering in the course of action Greek dramatists often based their plots on myths, which are believed to reflect the national identity and various historic periods. Besides serving as lyric entertainment stories, myths were used to persuade and enlighten citizens in matters of politics, religion, and customary rituals (Bremmer, 58)."
Tags: myths, religion, gods, tradition, punishment, tales, citizen, society
Abstract Ben Jonson's 1616 "Workes" embodies the central tension of Jonson's career, that between Jonson the dramatist and Jonson the "author." It is now, more or less, commonplace to think of Jonson's career in terms of a movement from the stage to the page. While this may be accurate, it is difficult to explain why Jonson turned his attention increasingly towards the printing house and away from the playhouse. This essay examines this question by looking at how the stage and the page differed for Jonson. Looking at the figurative and literal locations of the playhouses and printing houses, the paper argues that Jonson's primary motivation for becoming a poet of print was that print offered him a safer and more authoritative mode of communication from which to exhort. Jonson, after all, was a moralist at heart, and the early seventeenth-century theater was still a marginalized and contained space, whereas the printing houses were positioned more centrally while, ironically, maintaining a greater freedom from royal control. Thus, print offered Jonson a more powerful tool to effect change.
From the Paper "A number of reasons have been suggested to explain why Jonson embraced print publication over performance. The most basic explanation is simply that Jonson sought immortality and realized that print provided a far more lasting medium than the ephemeral experience of the stage. Jonson's dedicatory poem in Shakespeare's First Folio supports this, especially when, addressing Shakespeare directly, Jonson writes: "Thou art a monument without a tomb, / And art alive still while thy book doth live, / And we have wits to read and praise to give" (22-4). Another popular reason given for Jonson's turn to printing involves his anxiety over the interpretation of his works."
Abstract This paper looks at the life of eighteenth-century German dramatist and actor, Caroline Neuber. It describes the obstacles she and other women faced in German theater at the time, the dramatic reforms of the theater scene she championed and the inventive way in which she used dramaturgical conventions like the prologue to advance her agenda. The paper also discusses Neuber's commitment to re-shaping German comedy so that it would acquire the gravitas she felt it deserved. Finally, the paper examines Neuber's pivotal relationship with Johann Christoph Gottsched.
From the Paper "Still, for all the troubles which attended her life-long foray into the German theatre, Neuber should be remembered for her many accomplishments. Not least of all, she was one of the very few theater troupe owners who happened to be female; Neuber was also a committed perfectionist who dedicated herself to raising the standards of the German theater. Not to be overlooked, it was Caroline Neuber, arguably more so than anyone else in German theater at the time, who transformed the improvised, traditional Haupt- und Staatsaktion performances into a genuine national theater which promoted rehearsed and memorized performances of the 'courtly' Alexandrinerdrama variety so much in vogue in France at that time (Eigler & Kord, 75 and 229)."
Abstract This paper presents a comparative and parallel study of the dramatic art of the most prominent Greek dramatists Aeschylus and Sophocles. The writer discusses the similarities and differences between the two tragic poets, both in terms of style and content, and explains how each dramatist uses the chorus. The writer also explains that where the dramatic art of Sophocles is characterized by accomplished symmetry and harmonious grace, that of Aeschylus is hard, grand and severe, and Aeschylus (referred to as the 'Master of the Grotesque') is rightly acknowledged as the inventor of scenic pomp and hyperbole. The writer believes that Sophocles' art of characterization is more complex than Aeschylus and explains how Sophocles uses the third actor to place the audience in a position to judge the chief character from at least three points of view. The writer further asserts that unlike Aeschylus, who is simple and direct, Sophocles carries an explicit irony in his plays and he presents not only the problems, but suggests the solutions also to the intricacies of human life in relation to the cosmic and social order. The writer concludes that, as a modern reader, Sophocles is the greater of the two dramatists.
From the Paper "Of the precious and inexhaustible treasure of the Greek endeavours in the realm of tragedy, very little has come down to the readers. We are aware of the names of a few tragedians with Aeschylus, Sophocles and Euripides being the being the most prominent. And with these three too, a very little of the whole number of works is left. The extant dramas are those that had been selected by the Alexandrian critics for the study of Greek literature. The reason for being their choice by the critics was their affordability as the best illustration of the various styles of tragic art. Regarding Aeschylus and Sophocles, (the two subjects of this term paper) we are left with seven pieces remaining of each."
This paper is an extensive discusses of the history of Elizabethan theater, which existed during the reign of Queen Elizabeth I, and the Jacobean theater, which followed Elizabethan theater in the reign of James I.
6,960 words (approx. 27.8 pages), 18 sources, MLA, $ 156.95
Abstract This paper explains that the most expressive period in the history of the English theatre was the period of Queen Elizabeth I, the second half of the 16th century in which William Shakespeare was the most significant dramatist of the period. The author points out that Philip Henslowe, a well-known theater manager of the time, left a diary, which recorded the organization of theater companies, the props, the plays, the dramatists, and even the building of the theater itself. The paper relates that, in the Jacobean theater, which is considered to be a continuation of the Elizabethan period, the plays of Shakespeare and his contemporaries were written more to cater to the tastes of the affluent society; the closest modern corollary to these plays is popular cinema, with its films of adventure, violence, horror, or sentimental romance.
From the Paper "Thus by the period that Shakespeare was writing his plays, there were more playhouses in London than in any other European city. The plays were enacted in the courtyard of inns, or sometimes in the houses of noblemen, before this period. But a noble had to be watchful as to which play should be permitted to perform in his house. Anything that was contentious or political was prone to get him in problem with the crown. Not much is known about the Elizabethan indoor theatres as they were smaller in size and were roofed. Companies did their shows in winter when it was too cold to be outside, signifying that the performance was almost certainly alike. Actors had attained an adequate level of monetary and social strength, by the time of Shakespeare."
Abstract The author describes "Picture This" as a work of fiction about Rembrandt's painting "Aristotle Contemplating the Bust of Homer", which was sold to the Metropolitan Museum of Art in 1961. The author considers the book to be more than a pure novel, as Heller takes the reader through history from Plato to Rembrandt and through the history of the painting itself. The review states that Heller in "Picture This" has written one-liners for comic effect that sometimes appear to be incoherent.
From the Paper "However, scattered through the book, the writer has given a good deal of material about the canvas painting itself: the model who posed for Aristotle, the circumstances of its creation, the bust of Homer, the commission that directed to this picture and much more. Furthermore, its lineage, which is the list of people who consecutively owned it as it made its way from Amsterdam to Sicily to England to the Metropolitan, has also been discussed. However, the book overall is more or less directly about the painting."
Abstract This paper examines the life of William Shakespeare and compares and contrasts it to one of his most famous plays, "Hamlet". Shakespeare's childhood, education and early attempts at writing are all discussed and finally his adulthood - including relationships and emotional hardships. These experiences are compared to those of Hamlet.
From the Paper "William Shakespeare is considered to be the greatest playwright of all time. He was an English dramatist and poet who lived during the late sixteenth and early seventeenth centuries. As with all writers, Shakespeare's life has probably affected many of his plays, but one which stands out most strikingly in this manner is ?Hamlet.? "
Tags:dramatist, english, literature, plays, poet, theatre, william
Abstract "Before beginning a discussion of Jean Paul Sartre's views on the importance of different types of perception the focus of this paper it will be useful to lay a groundwork that covers the basic overall philosophy of this great French thinker, dramatist, novelist, and political journalist, for his writings about perception are not in any way ancillary to his major philosophical contributions but lie at the core of his theoretical and political positions.
From the Paper "Before beginning a discussion of Jean Paul Sartre's views on the importance of different types of perception the focus of this paper it will be useful to lay a groundwork that covers the basic overall philosophy of this great French thinker, dramatist, novelist, and political journalist, for his writings about perception are not in any way ancillary to his major philosophical contributions but lie at the core of his theoretical and political positions.
Sartre, who was born in Paris, June 21, 1905, and educated at the ?c"le Normale Sup"rieure in Paris, the University of Fribourg in Switzerland, and the French Institute in Berlin, taught philosophy at various lyc?es (essentially analogous to American high schools) from 1929 until the outbreak of World War II, when he was called into military service. In 1940-41 he was ..."
Abstract An overtly non-realistic portrayal of society is offered in a play by Luigi Pirandello, yet this is also a play with a political analysis at its heart. Appearance versus reality is a theme that infuses Pirandello's play Six Characters in Search of an Author. The technique used by the playwright is extremely theatrical and has a long history--the play-within-a-play was used often by Shakespeare and can be found in the works of other major dramatists.
From the Paper "An overtly non-realistic portrayal of society is offered in a play by Luigi Pirandello, yet this is also a play with a political analysis at its heart. Appearance versus reality is a theme that infuses Pirandello's play Six Characters in Search of an Author. The technique used by the playwright is extremely theatrical and has a long history--the play-within-a-play was used often by Shakespeare and can be found in the works of other major dramatists. The playwright often uses such a device to comment on the process of playwriting itself, showing within a performance of a play the act of creating and presenting some vision of reality in dramatic form. Pirandello's work makes this self-reflective structure the basic substance of the play and uses it to raise questions as to how we can tell when reality ends and illusion begins, or the other way round. The selfhood..."
Abstract Analysis of 2 plays by African dramatist Wole Soyinka. Discusses fusion of traditional & modern forms in "The Lion & the Jewel" and "The Trials of Brother Jero." Conflicts re: traditional culture to culture of Europe. Themes explored. Colonial experience of Africa. Community customs. Treatment of women--bride price vs. marrying for love. Clash between African traditional religion & Christianity. Power of the idea of cummunity.
From the Paper "All forms of drama exist in Africa today, including drama from past and present, ritual and ceremony, dance mime and modern play. These forms can be found throughout the continent where traditional drama in the villages and imported amusements in films and television are found side by side. Traditional African drama is so tightly integrated into African religion and customs that identifying "theater" as a separate entity is unrealistic. There is a wide variety of staged theater in Africa, including not only written plays but also storytelling, puppetry, and ritual drama. The plays of Wole Soyinka show how traditional forms and modern forms are fused in plays that openly compare traditional culture to the culture of Europe as introduced in the age of imperialism.
In the play "The Lion and the Jewel" by Wole Soyinka, the..."
Abstract Visions of evil operating in this world serve as the subject matter for the dramatist, especially in an era when good and evil were seen more clearly as battling for the human soul directly, often personified as angel and devil. The paper shows that in the Elizabethan era, William Shakespeare in "Macbeth" and Christopher Marlowe in "Doctor Faustus" (both in England) explored these issues in different ways, though each saw evil as manifest and physical as well as sometimes supernatural. It shows that in Spain, Calderan de la Barca a few years later similarly expressed the palpable nature of evil in human life in his "El Magico Prodigioso". The paper examines how the Marlowe and Calderan works are both based on the Faust legend, while Shakespeare's play is based on a historical individual reported. The three plays are related in that in all three cases, the protagonist is guided to success in this life by supernatural forces, imperiling his soul in the process. By comparing the three plays, the paper illuminates the character of Dr. Faustus as depicted in the Marlowe play and suggests how Marlowe used the legend to create a sense of tragedy in terms of a character who has clearly over-reached himself.
From the Paper "The character of Doctor Faustus reflects the view of the historical figure and the image that would be continued in other versions of the legend. He is a learned scholar and theologian, but his ambition for knowledge goes beyond what man is meant to know. He sells his soul for knowledge and power, which are linked, and though he is immediately and continuously faced with a sense of remorse for his fate, he cannot be said to be repentant. His nature in the beginning is more over-reaching than wicked, but that character worsens as time passes and as he exercises the power he has been given. He becomes more cruel and even asks that an old man who tries to save his soul be tortured for this act. The one action he takes that shows his former self is to send his friends away when he knows the devil is coming for him, thus protecting them."
A discussion of how playwrights criticize society by having characters who represent some social class or ideological position through an analysis of various literary works all linked by a protagonist called Nora.
Abstract This paper discusses how dramatists often criticize society through the characters and situations they depict on stage. In particular it looks at the way these characters are shaped by the society in which they live and how they behave because of the conflict that develops between their psychology and their personality as well as the demands of society. It evaluates how the same is true of novelists and fiction writers and how the process can be seen by reference to several women coincidentally named Nora, in three in plays by J.M. Synge, George Bernard Shaw and Sean O'Casey and a real-life Nora who served as model for the character of Gretta Conroy in James Joyce's "The Dead." It also analyzes how they can all be compared to the prototypical middle-class woman emerging from her cocoon, Nora in "A Doll's House" by Henrik Ibsen.
From the Paper "Sean O'Casey wanted to be a voice for a new Ireland, but after The Plough and the Stars was rejected by the very audience for which it was written because of its unsympathetic portrayal of those involved in the Easter Rebellion, O'Casey left Ireland for Britain. Interestingly, the play has become one of those most performed in Ireland since that time. The 1916 rebellion is the background for the play, and it was a period of disturbance in Irish history. The play begins in 1915 and prepares for the tragedy to come in 1916. Nora and Clitheroe are introduced by Fluther Good and Mrs. Gogan. This Nora has not been married long, and she and her husband are beginning to quarrel. She is unhappy living in a tenement house and would also like to dress in better clothing than Jack can afford."
Abstract This paper examines the life and work of Miguel de Cervantes Saavedra (1547-1616) a Spanish novelist, poet and dramatist who lived during a turbulent period in history. It discusses how Cervantes, not content to simply observe, took an active part in the events of his time and how references to episodes from his own life are commonly found within his writings. It analyzes the originality and universal success, of his greatest work, "Don Quixote", which assured his fame as a writer and ultimately his place in literary history.
From the Paper "The son of a poor Spanish surgeon, Cervantes was born at Alcala de Henares near Madrid on 9th October 1547. As a result of his father's continual search for work, and in order to evade those to whom he owed money, Cervantes spent the majority of his childhood moving between cities - including Valladolid, Seville, and Madrid. Aged twenty-one, Cervantes became involved in a duel, the result being that he was forced to flee from Spain (Canavaggio, 1997). Arriving in Rome, he joined up as a private soldier and fought at the battle of Lepanto where he was wounded in battle, losing the use of his left hand (Ormsby, 1885). In 1575, having been granted permission to return to Spain, his homebound ship was attacked by pirates and he was taken to Algeria as a prisoner, where he remained for five years in spite of numerous attempts to escape (Canning, 121). On his eventual return to Spain he began writing poetry and plays but, in common with many writers before and since, he was forced to take a succession of badly-paid jobs in order to earn a living wage (Canavaggio, 145)."
Abstract This paper discusses the influence of William Shakespeare on twenty first century theatre. Shakespeare was a great English playwright, dramatist and poet who he lived during the late sixteenth and early seventeenth centuries. He is considered to be the greatest playwright of all time. The paper shows that no other writer's plays have been produced so many times or read so widely in so many countries as his. Shakespeare had a tremendous influence on culture and literature throughout the world and he contributed greatly to the development of the English language. The paper examines how many words and phrases from Shakespeare's plays and poems have become part of our speech. It shows that Shakespeare's ideas on subjects such as romantic love, heroism, comedy and tragedy have helped shape the attitudes of millions of people. His portrayals of historical figures and events have influenced our thinking more than what has been written in history books. The world has admired and respected many great writers, but only Shakespeare has generated such enormous continuing interest. The paper discusses his different works for theatre. Costumes trends, audiences and sets are also discussed. It also discusses the formation of Globe theatre by Shakespeare.
Outline:
Abstract
Background
Life of Shakespeare
Shakespeare Career
Shakespeare's Influences on Theatre
Costumes and Sets
Audience and Plays
Globe Theatre
Structure of the Globe
Shakespeare and the End of the Globe
Development of Theatre
Conclusion
From the Paper "Everything had to be conveyed to the audience through words and there is little doubt that the audience had better memories and perhaps higher powers of attention than people do today, so that they took in and retained the information given to them. The majority people in Shakespeare's day could not read or write so they had to rely on word of mouth and on memory; this is in evidence in Romeo and Juliet when the Servant is sent to bid Capulet's guests to dinner. He can't read the list which he has been given and he asks Romeo to read it to him; he hears it read once and then goes off to find the guests; yet, there are well over thirteen people on the list so his memory must have been extremely retentive."
Tags: James, Burbage, Romeo, and, Juliet, Pyramus, Thisbe, Hamlet
