Abstract The discusses whether viewing films in a movie theatre is a better experience than seeing them at home. The paper contends that while generally agreeing with this thesis, there are circumstances where home viewing might be preferable.
From the Paper "The issue of whether viewers prefer to watch a first run film in a theatre or wait until it's released on DVD and watch it at home is very much on the minds of movie moguls today. The billion dollar question in Hollywood these days is what to do ..."
Abstract This paper discusses what an epic is and uses several examples to illustrate the point. The author of this paper takes the readers on an exploratory journey through the "Iliad" and discusses several of its characteristics to underscore its qualifications as an epic.
Abstract "This paper reviews the book "Epic Encounters" by Melani McAlister. According to this review, "Epic Encounters" is a book that examines the specific relationship that exists between America and the Middle East since World War II, what has shaped that relationship, and how that relationship is both reflected in and shaped by media reports that certainly affect the way Americans see the world and their place in it.
From the Paper "The events of September 11, 2001 brought the reality of international terrorism home to Americans and also created the need to know more about the subject, about the forces contributing to terrorism, and about ways to control terrorist groups and individuals. One aspect of this desire to know has been a need to understand the way of thinking common in the Middle East, but Americans first need to know more about the Middle East than they have in the past. Americans tend to see the world reflected through their own experience and to give little attention to details about other countries."
Abstract The following paper delineates the host of similarities which bind together the Epic of Gilgamesh and the Book of Genesis. The paper argues that Adam and Enkidu are very much interchangeable, and that the same can be said also about Utnapishtim and Noah. Given that the Sumerian tale is so old extending back as it does almost to a prehistoric period, the paper suggests that the earliest tales of the Bible either drew from it or are rife with a startling number of coincidences.
From the Paper "A Brief Comparison of the Epic of Gilgamesh and the Judeo-Christian Bible Few ancient tales are more engrossing than The Epic of Gilgamesh. The following paper will first contextualize the Epic by examining the ancient society which gave birth to it and proceed from there to review the ancient Sumerian tale and assess how its depiction of certain events compares - or does not compare - to the biblical depiction of those same occurrences. Ultimately, what should emerge is a recognition that Judeo-Christian literature owes part of its richness and splendor to pre-Christian civilizations. Time does not permit a lengthy exploration of the Sumerian culture which produced the enduring tale of Gilgamesh. Nonetheless, the Epic reflects an early culture that was and is, in many ways, quite similar to ancient Judeo-Christian culture."
Abstract This paper examines how the theatre of Brecht and Naturalist theatre are very different approaches to performance. It looks at how Brecht's theatre was centred 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 Epictheatre and considers whether Naturalism can fulfil some of the functions of Brecht's theatre.
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 fuelled 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 mould of the "good little wife"."
Abstract This paper shows how the key to understanding Brecht's "Der gute Mensch von Sezuan" and its place in the development of EpicTheatre 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 theatre."
A study of Canada's first regional theatre and its goal to achieve the establishment of a uniquely Canadian art and culture scene through experimental theatre.
Abstract This paper considers the state of theatre in Canada and Winnipeg prior to the creation of the Manitoba Theatre Centre in 1958, looking at the goals of the Massey Commission in promoting the development of a Canadian culture. It also looks at the intentions of Theatre 77 and the Winnipeg Little Theatre in their merger to become the Manitoba Theatre Centre. The main body of the analysis is concerned with the mandate of the Manitoba Theatre Centre. Finally, consideration is also given to an additional fourth goal introduced later in the Centre's history that was concerned with encouraging the production of Canadian plays.
Outline
Introduction
Setting the Scene: The State of Theatre in Canada and Winnipeg and the Establishment of the Manitoba Theatre Centre
Goal A
Goal B
Goal C
Goal D
The Legacy and Prospects for the Centre as it Entered the 1980s
From the Paper "Canadian theatre, in the 1950s, consisted mostly of amateur societies, with professional theatre only really finding a niche in Toronto. The Massey Commission Report of 1951 was concerned with the state of Canadian culture and its tendency to import art from other cultural centres, such as New York and London. The Massey Commission's Report outlined steps to create a government body that would grant funds to art programmes to promote a national culture. Such a concern had been similarly expressed by other major figures in Canadian theatre, some of whom had suggested that if the state of the theatre were to improve, it would require a national theatre that would tour the country with several permanent provincial theatre buildings to house professional productions (Massey 55). "
Abstract This paper discusses Roman theatre and explains that it was vastly influenced by the Greek theatre although they have many differences. The paper provides an outline of the general history of Roman theatre and discusses how the Roman theatre gives us an insight on the Romans and their culture. The paper relates that it has played an important part in the beginning and evolution of the European theatre.
From the Paper "The Roman theatre faced some problems in the beginning due to the fact that the audience was distracted by other events. The first performance of Hecyra was a ruin because the audience was distracted by the boxers and the rope dancer. The second performance was again a disaster as people heard of a rumor that a "gladiatorial display was about to take place" (W. Beare, p.165). The stage was a wooden one and some people hold the view that at a time the Romans had created a revolving stage. This is not considered as an authentic historical record of the history of Roman theatre. The actors and their dressing rooms were located behind the stage."
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)."
Abstract This paper is in two parts. The first part discusses the Commedia Del Arte or drama that employs comedy and has a happy ending, which began during the Italian Renaissance. It examines its origins and its popularity as well as its methods of acting. It evaluates its effect on modern comedy such as the concept of slapstick, timing in the repartee and romantic comedy. The second part outlines the other contributions of Italian Renaissance theatre to Western theater such as the introduction of the profession of acting and theatre and set design.
From the Paper "Commedia Del Arte made many contributions to modern comedy. First, timing was important in the repartee and has been in comedy ever since. Second, slapstick comedy, such as that practiced by Chaplin, Keaton, and Lloyd is a direct descendent of Commedia Del Arte. Third, modern romantic comedy had it origins in the plots and characters of Commedia Del Arte. Finally, both situation comedy and animated cartoons employ elements of Commedia Del Arte (Suzuki; Commedia Dell?Arte)."
Abstract The Royal National Theatre needs to be cherished as a place where new voices and old stories come together to remind the nation of where it has been, and to illuminate the path to take in the future. England is the birthplace of the world's greatest playwright, and some lesser lights (comparatively speaking) such as Jonson, Marlowe, Webster, Sheridan, Shaw, Pinter, Stoppard. The last few years has seen a resurgence in new playwrighting which is vital, funny, edgy and intelligent. That is a culture worth protecting and developing and the Royal National Theatre seems the ideal institution in which to do it.
Abstract This paper will discuss the training of actors in the Japanese traditional theatres of Noh and Kabuki. It will be argued that the acting conventions of both schools differ in terms of the different requirements of each form; with the more formalized Noh theatre demanding skill in dance, while the action and spectacle of the Kabuki requires physical training and the ability to project expressions with faces rather than masks.
Abstract This paper attempts to define an epic and an epic hero by looking at typical characteristics exhibited by epic heroes and by examining classic epics and the main characters from these stories. The paper looks at the characters of Odysseus, Sir Gawain, and Beowulf to determine what characteristics these heroes have in common, thus defining an epic hero.
From the Paper "Epic is probably one of the most fascinating forms of ancient narratives and its contribution to the growth and evolution of literature cannot be overestimated. To seek a clear definition of an epic would be a futile attempt since there appears to be lesser consensus on its definition than we have on tax cuts today. Philosopher, writers and oral masters since the times of Aristotle to Seamus Heaney have argued about various critical features of an epic, and while all agree it's a long narrative eulogizing the heroic deeds of the protagonists, there appears to be no agreement among on a clear definition that could highlight other essential features of epic narrative. Roughly epic is a term used by historians for ?a number of works belonging to the earlier Middle Ages, and to the medieval origins of modern literature. "Epic" is a term freely applied to the old school of Germanic narrative poetry, which in different dialects is represented by the poems of Hildebrand, of Beowulf, of Sigurd and Brynhild.? (Ker: 3)"
Abstract This paper deals with the importance of the study of the "Gilgamesh" epic as a means to study the textual history and development of ancient narratives, because it's the only Mesopotamian epic that is this well attested from so many different periods. A short summary of the epic is given, followed by a discussion of its development from a collection of Sumerian tales into the standard Akkadian version that we know today.
Outline
Summary of the Gilgamesh Epic The "Moral of the Story"
The Development of the Gilgamesh Epic in the Different Versions
The Authorship and Composition of the Gilgamesh Epic
From the Paper "But there is more to the story than this. In this Old Babylonian version Enkidu and Gilgamesh are both portrayed quite differently from their Sumerian counterparts and are already closer to how we encounter them in the standard version. Enkidu starts out as a wild, untamed creature, who is tamed and introduced into civilization where he submits himself to the authority of the king (Gilgamesh). They eventually become best friends and when Enkidu dies, Gilgamesh submits entirely to grief. He experiences a "dark night of the soul" whereby he withdraws from society and lives on the steppe like a wild animal. He eventually comes to terms with the mortality (and humanity) of humans and re-enters the city as a transformed being."
Abstract This paper looks at five musicals, starting with "South Pacific". It uses lyrics from these shows to demonstrate how these musicals have served to raise society's awareness about important issues. The idea is presented that since "South Pacific", musical theatre has expanded its base to reflect the lives of a wider variety of kinds of peoples, resulting in a body of work that more completely reflects both the people of America and the issues they face.
From the Paper "The musical, a form of stage play that includes song and dance, has its roots in the opera but developed its current form in the United States. The unique nature of both diverse popuations and a wide range of sets of values in our country has had a significant effect on topics chosen for the story lines of musicals.
"At the turn of the century, shows by such authors as Victor Herbert told conventional stories of "boy meets girl" love. The main characters all lived some mild variant of a conventional life. They might have gotten themselves into improbable situations, but they were heterosexual, chose partners close to their own age, made a strong connection between love and marriage, and generally reflected the accepted mores and standards of mainstream society. Races did not mix in any significant way. Whites did not fall in love with Blacks. In fact, the main characters, with the exception of Gershwin's all-Black Porgy and Bess, were nearly always Caucasian."
Tags: musical, theatre, drama, society, racial, Gershwin, Herbert
