Abstract
This paper looks at how the introduction of women into the theater was an epic move beforehand acting had not been considered a suitable pursuit for a woman. It considers the effect upon theater of introducing the actress to the stage and in particular the effect had upon the portrayal of women in plays. It uses three plays as examples, one from before the advent of actresses Ben Jonson's "Volpone"?, one from the same year as the first actress was allowed onstage, Aphra Behn's "The Rover" and one from several years afterwards, "The Two Foscari" by Lord George Byron.

From the Paper
"And indeed it became so obvious that with the Restoration came change, and around 1660 women were allowed on the stage for the first time. Obviously the classics such as Shakespeare were still being produced, but the roles for women in the plays written before this era are woeful. New plays were constantly demanded in the theater, and with the introduction of actresses, a change arose in the plays. Influential playwright Aphra Behn typifies this. Her play "The Rover", written in 1677, is a great change from "Volpone" - it has many strong, convincing female characters. The main two of note are Florinda and Hellena. Both are in many ways in control of their lives, despite the best meant intentions of other men in their lives."

Tags:aphra, behn, ben, byron, empowerment, females, foscari, johnson, lord, rover, volpone

Abstract
This paper provides a description of the history of theater and the evolution of the theater guilds. The paper traces the history of the theater itself back to Greek drama, to the stories of the gods in events told by great epic poets such as Homer. It goes on to describe how the first theatrical society was founded.

From the Paper
"The history of the theater guilds is intertwined with the history of theater. The origins of the guild are rooted in the origins of theater itself. The truth, is in any society, from the Egyptians on, had some form of acting out of mythology or stories. Many of these stories were originally stories of the gods, as cultural expressions of the language in society. The fact that stories were placed our around religious texts of the society was integral to the advent of the guild, as we will see. However, in one respect, any group of players is a guild. Theater societies in society are as old as society itself, since there were the first royal courts."

Tags:communication, drama, craft

Abstract
This paper examines how the theater of Brecht and Naturalist theater are very different approaches to performance. It looks at how Brecht's theater was centered on a political agenda and designed to convey messages on that agenda whereas Naturalism is about the art itself and bringing realism to acting, not much to do with politics at all. It studies the working conventions of both Naturalism and Brecht's Epic theater and considers whether Naturalism can fulfill some of the functions of Brecht's theater.

From the Paper
"However, in a far more subtle way, Naturalism can also make points which promote comment on the social and political status of the time, and cause reaction within an audience fueled by these. For example, a great part of "A Doll's House" by Henrik Ibsen is a comment on the social status of the protagonist, Nora Helmer. In a contemporary society, her situation would be considered completely normal, in that she is portrayed as a housewife and mother with little or no rights independently of her husband, and before her marriage, her father. As a woman, she was a second class citizen; whilst having just as much intelligence and common sense as her male counterparts this is smothered and repressed so that she fits the mold of the "good little wife"."

Tags:alienation, chekhov, courage, ibsen, marxism, mother, verfremdungeffekt

Abstract
This paper contends that William Shakespeare's theatre, the epic Globe, mirrors the stories of the early, bustling London and ever-morphing England of the 16th and 17th century, from plank and dirt to flame and fame. The paper presents a technical overview of the theatre structure, highlighting the symbolism between the material poverty of the building to that of the society. The paper contends that the social commentary Shakespeare spouted was given a stage by the Globe, which represented, in its own short life, the compendium of Elizabethan life as a whole.

From the Paper
"William Shakespeare was born into a world of words that took him from cold, stone castles in Scotland to the bustling cities of Italy and the high seas of colonial change. An emblem of the Renaissance, the Bard of Avon was not only the conqueror of his own mind and pen, but also of the language of his own social, political, and religious reality. His theatre, the epic Globe, mirrors the stories of the early, bustling London and ever-morphing England in the duration of its own life, from plank and dirt to flame and fame. By 1598, Richard Burbage was the practicing don of the London theatre world, extending his fingertips for production all over the lively center of British commerce and governance. His players, a collection of all-male actors, were widely recognized throughout the theatre world, one of the only sources of popular entertainment. Burbage produced the works of a variety of writers, including William Shakespeare, in his own space called "The Theatre." That year, however, Burbage ordered his company to pull down The Theatre and remove its timber to Bankside. "

Tags:bard, avon, burbage

Abstract
This paper analyzes the case study of the small business, Alamo Drafthouse Theatre, which is primarily a movie theater but also provides a secondary service of table meals during the viewing service. The paper utilizes a market position map, a strategic service vision framework and a service qualifier analysis to evaluate the theater's marketing. The paper concludes that, by combining theater and food services and by carefully identifying its target market, Alamo Drafthouse Theatre successfully has differentiated itself from its competition. The paper includes a recommendation to further improve the business.

Table of Contents:
Background
Market Position Maps
Food Quality
"Strategic Service Vision" Framework
Target Market Segment
Service Concept
Operating Strategy
Service Delivery System
Service Qualifiers
Service Losers
Screening Times
Staff Levels
Reputation
Viewing Capacity
Equipment
Parking
Service Winners
Convenience
Server
Location
Pricing
Service Qualifiers
Film Quality
Food Quality
Cleanliness
Recommendations
Screening Times and Target Market
Staff Levels
Viewing Capacity
Limited Equipment
Parking
Conclusion

From the Paper
"Alamo's Drafthouse without being able to broaden the schedule of screening times or the amount of screenings per day loses potential customers but also decreasing the ability to expand both his market share but also its target market. Expanding the showing schedule or altering it in such a way to show particular movies for older and/or younger audience will attract the different target market that currently is not in the demographics."

Tags:services, nightlife activity, staff parking demographic

Abstract
The purpose of this paper is to discuss Absurdist (Existential) theatre and four works by "Theatre of the Absurd" playwrights. The works used are "Victoria Station" by Harold Pinter, "The Zoo Story" by Edward Albee, "The Philadelphia" by David Ives and "Sure Thing," by David Ives. Specifically, it discusses hopelessness and meaningless as a base plot for the "Theatre of the Absurd" and how these two concepts reveal themselves in the works.

From the Paper
"All four of these plays are by authors considered to write for the "Theatre of the Absurd" movement, which began in the late 50s. It is a movement concerned with the absurdity and absolute pointlessness of life. Many playwrights participated, including Samuel Beckett, Harold Pinter, Eugene Ionesco, Jean Genet, and Edward Albee. "The 20th century's most popular non-realistic genre is absurdism. The root 'absurd,' connotes something that does not follow the roots of logic. In the Absurdist school of drama, this holds true. Existence is fragmented, pointless. There is no truth so the search for truth is abandoned in Absurdist works. Language is reduced to a bantering game where words obfuscate rather elucidate the truth. Action moves outside of the realm of causality to chaos. Absurdists minimalize the sense of place. Characters are forced to move in an incomprehensible, void-like realm" (Sosnowski)."

Tags:absurdist, existential, playwright, Victoria, Station, Harold, Pinter, Zoo, Story, Edward, Albee, Philadelphia, David, Ives, Sure, Thing, hopelessness, meaningless, base, plot

Abstract
This paper shows how the key to understanding Brecht's "Der gute Mensch von Sezuan" and its place in the development of Epic Theatre is to understand the way in which he uses songs and poetic language throughout the action of the play. At certain significant moments, the actors break into song, or speak in blank verse, a style vastly different from their characteristic mode of expression. The essay's discussion of these moments, and explanation of their function within Brecht's dramatic theory, will enable the reader to fully understand the play and its importance. The essay concentrates fully on the text of the work rather than reworking critical literature on the subject.

From the Paper
"As well as the five songs, on around twenty-five occasions the play is "interrupted" by excerpts of free verse, lacking rhyme and meter but distinct in style and vocabulary from the character's normal speech. These interludes form a framework of comment and reflection embracing the action of the play and are usually directed to the audience rather than to the other characters. This commentary intertwined with the action of the play force the audience to consider it immediately whilst still under the direct influence of the playwright instead of reflecting on it later and at a distance. The characters are more perceptive in this altered mood and provide the audience with insight into their behavior, and for this reason as well as because the action of the play is interrupted, the songs and heightened lyrical passages are also an important part of Brecht's Verfremdungeffekt (estrangement effect). The fact that several of the characters break into song at different points in the play is an anti-naturalistic device and the elevated language is also clearly not spontaneous or believable dialogue. Some of the dialogue and songs also have a persuasive function, serving Brechts interests. Many of them could stand alone, indeed some did before Brecht appropriated them for his work, and are simple and memorable excerpts that the audience could take home from the theater."

Tags:bertolt, epic, epische, gute, mensch, theater, theatre, verfremdungseffekt

Abstract
In this essay, the writer analyzes the different forms and purposes of theater offered by Antonin Artaud and Bertolt Brecht in their works and philosophies. The writer discusses the purpose and goals of the two playwrights and their impact on audiences.

From the Paper
"The theater of Antonin Artaud and Bertolt Brecht is radically different with respect to the purpose and goals of the respective playwrights with respect to the impact of their works on audiences and society. If Artaud's theater of cruelty and Brecht's epic theater are distinct then so are their goals for audience impact. Artaud hoped by showing images of man's cruelty to man, audience members would experience a form of delirium whereby they would experience trances and inspiration leading to personal change ... "

Tags:Epic Theater, theater of cruelty, individual, society, truth, psyche, illusion, social change, revolution, interaction, audience

Abstract
The soliloquy of William Shakespeare's "Henry V," gives an insight into the thoughts of King Henry after he has overheard his troops the night before the epic battle. This paper breaks down his speech and examines how it represents Henry not only as a great leader but also as a human being.

From the Paper
"The importance of the soliloquy is that it is a form of dialogue in which a character delivers a brief speech to the audience or into "space" as a mode of reflective discourse (Martin and Jacobus 229-230). Though many do not immediately think of Henry V as being a production with a soliloquy, as they would Hamlet and other productions, the soliloquy given by King Henry is very moving and expresses his feelings the night before the final battle."

Tags:shakespeare, theater, theatre

Abstract
In this article, the writer looks at the issue of realism in drama, according to Gertrude Stein and Bertolt Brecht, in relation to Stein's play "Dr. Faustus Lights the Light" and August Strindberg's "The Ghost Sonata". The writer focuses on their views regarding realism and concludes that perhaps both Stein and Brecht are advocating alienation as a way of bridging the initial gap between the stage and the spectator in order to bring realism into sharper focus. The writer maintains that Brecht did it epically, while Stein did it psychologically.

From the Paper
"Since there is an unavoidable gap between what one experiences in real life and what one anticipates on the stage, the actual present can never be really done on stage. Therefore realism isn't really real, only a fiction of reality. What one sees in the realism of "The Ghost Sonata" is a staid, set environment rather than an acting platform. The plot is very well set out, it leads us on without giving anything away, there are expected and logical reversals (and vice versa), the characters conform to the dress and modes of the period, the characters evoke our empathy or revulsion, and there is usually a social or moral message implicit in the play. We recognize those emotions and values to which we can relate or have experienced."

Tags:acting, stage, theatre, actor