Abstract This paper looks at the Hellenistic period that covers some 300 years, from 323 B.C. to 31 B.C. The writer discusses the great political changes of the Hellenistic regime during this period. In this article, the writer studies the portrayal of women at this time in Hellenistic sculpture.
From the Paper "The Hellenistic period covers some 300 years, from 323 B.C. to 31 B.C. The beginning of the era was marked by the death of Alexander the Great, and the end came with the Roman conquest of the Hellenistic regime. There were massive political changes during this time period, as the self-contained city-states suddenly gave way to the much more loosely organized domains of the Hellenistic kings. In addition, Greek cities were now founded far to the East of the previous boundaries of Hellenism."
Abstract This report focuses on the historical significance of the Hellenistic society, and its impact on the world. Matters discussed in this article are the concepts of the Hellenistic Kings; the social order prior to the rule of Alexander the Great; the successful conquests of Alexander; the reign of his successors; the differences in the social order of the polis and the emerging Hellenistic society. Further, the writer looks at the significant alterations made in politics, religion, art, architecture, and philosophy of the time.
From the Paper "The Hellenistic Period, although a time of great unrest and turmoil in history, laid the framework for modern societies throughout the world. Overcoming struggles of power, kingdoms won and lost, shifts in governmental structure, and changes in social order, the people of the Hellenistic Period created an epic past that we can build upon in expanding the cultures of our contemporary planet. "Hellene", the word for the Greeks, is the core of the term "Hellenistic". The Hellenistic Period was considered the age of the Greeks, and it was a time in which the Greek culture impacted the world through politics, literature, art, philosophy, drama, and religion."
The history and development of the architecture of the Roman theater building. An in-depth look at how the ancient Romans borrowed heavily from the Greek example, but improved upon it to create a building that was uniquely Roman.
Abstract The paper discusses in great detail the evolution of the Roman theater, beginning from the Greek wooden origins to the stone monuments that became iconic with Roman architecture during the Republic and the Empire. A brief history of theater is discussed in the beginning of the paper, with special attention given to the religious implications of how theaters were originally set up. The importance of the orchestra and "skene" are given historical background, dating back to early Dionysian worship. The layout of the early Greek theaters are discussed, with a complete layout included that describes the circular performance area, the seating arrangements, background adjustments and a rudimentary stage. The rest of the paper deals with how the Romans, eager to take the art of theater from being a religious practice to more of an entertainment value for the masses, incorporated their own unique designs to the Greek theater layout to create a more efficient and clearly Roman design. Heavy attention is give to Vitruvius and his work " De Architectura" which provides a step-by-step process in which Roman theaters were built. Improvements are discussed from eliminating the completely circular stage to a half-circle, as well as creating an official stage that persists in modern theatrical performances. The paper takes each part of the theater and discusses the area extensively in terms of what the Romans did to improve upon or change from the early Greek models.
From the Paper "Ancient Rome's concept of art and architecture was heavily influenced by the cultures that the Romans had conquered, but were in no way identical copies of the art that existed in those subjugated areas. The Romans excelled at taking artistic ideas from other civilizations and molding them into a form that could undoubtedly be identified as uniquely Roman. This technique can easily be seen in practice when one examines the Roman theater building. Roman theaters can be found throughout the area that used to be the Roman Empire, with remnants of theaters all over Europe and the Mediterranean. These theaters have details and building techniques that are exclusive to Roman designs, but when they are viewed in comparison with ancient Greek theaters, one can clearly see where the Romans received their inspiration."
Abstract This paper examines and analyzes Hispanic American theater and drama in the United States today. Prominent theater groups and artists are discussed, and the paper concludes with a discussion of the history and future of Hispanic American Theater.
Abstract The paper discusses the construction of Shakespeare's Globe Theater and its modern reconstruction. The paper explains how, in addition to the theater providing hours of drama, seeing a play at the Globe Theater was a social event where everyone gathered to be entertained. The paper shows how the Globe Theater is a rich part of the world's social, literary and dramatic history.
From the Paper "Of the literary and dramatic icons in the English-speaking world, none is so revered, so respected, and so well known as William Shakespeare. Producing 38 plays and 154 sonnets, The Bard is memorialized through both his drama and poetry, which continues to be read and discussed with fervor in classrooms today. Shakespeare's birthplace in Stratford-Upon-Avon has become the site of many a writer and dramatist's pilgrimage. In fact, the tiny house was once outfitted with windows where famous writers scratched their names, leaving their legacy with Shakespeare as he had left his legacy with them. Visitors to the birthplace today can still see some of the scrawled names on the window panes, which are now located behind protective glass--Charles Dickens and Ralph Waldo Emerson to name just two (Shakespeare Aloud)."
Abstract This paper discusses the role of ancient Greek drama in Greek society. The paper explains the stage styles, how actors performed and the main types of plays performed in ancient Greek theater. The author discusses tragedies, comedies and a special form of theater called "dithyramb," which was sung by a large chorus. The paper goes on to discuss the importance of the elements of prose, lyrics and dancing in the ancient Greek drama. The paper then goes on to discuss some of ancient Greece's foremost playwrights, as well as theories about the origins of drama.
From the Paper "The word 'Drama' as such has originated from the Greek words that mean 'to do', or 'to act'. When a story is acted out, it becomes a 'play', and this was the medium used by the ancient Greeks to act out their stories, which were either humorous and were about funny situations in their everyday lives, or they would be great tragedies, which would act out some important episode or period of their lives at the time. The speech and actions of the play would therefore, recreate human lives and its flow. It can be stated that ancient Greece was in fact the real birthplace of the future 'drama' of the Western world. In Greece, these plays or dramas were presented on stage twice a year, in honor of the God Dionysius, and there would be choruses made up of men who would be dressed up in goatskins, and who were meant to represent 'satyrs' or those mythical creatures who were partly goat, and partly man."
Abstract This paper discusses the revival of theater in Europe, beginning in the tenth century, as inspired and sponsored by the Catholic Church. The writer examines how historians now consider the High Middle Ages as the third major theatrical era in Western history. The paper further illustrates how major dramatic forms were connected with the church, its rituals, and its calendar of religious observances. The author explains the importance of these dramas , which included making church services more appealing and teaching scriptural history to the masses. The three types of plays that came out of the High Middle Ages are presented. The author concludes by arguing that drama other than that associated with the Church did exist at this time, influencing theater in the Late Middle Ages and even today.
From the Paper "Since Plato's The Republic, the depiction of art, particularly theatre, has been treated as a secondary if not inconsequential chronicle and portrayal of any given era. Nowhere is this more clearly illustrated than during the Middle Ages, where the major dramatic forms, if they existed at all and if they could be called theatre, could only be performed if they were connected with and sanctioned by the church. Coinciding with the well-deserved title of the Dark Ages, the Catholic Church has been historically credited of having begun a revival of theatre in Europe. Extant plays, sponsored by the church and dating back to the tenth century, are categorized into three distinct genres: liturgical drama, which enacted part of the liturgy of the Catholic Mass; cycle plays, which illustrated scriptural history; and morality drama, which metaphorically endorsed the symbolic structure of Christian life. The provincial dramaturgical view generally holds that that these were the only forms of theatre of the time. However, more recent scholarship demonstrates that as these performance-based church rituals begot theatre and theatre further begot church ritual, other plays like university plays, pageants, mummings and disguisings, interludes, other non-cycle religious plays, and drama came into play and that collectively, theatre of the High Middle Ages impacted the evolution of theatre into the Late Middle Ages, and what it is today."
Tags:theater middle ages renaissance cycle play mummings church, pageant robin hood morality drama
Abstract This paper observes the movie theaters marketplace for facts in the nature of competition and the idea of "perfect competition", a concept rooted in the work of John Maynard Keynes. It examines the concept of equilibrium in the marketplace and traditional economic theory.
From the Paper "When we decide to go see our third viewing of "The Mummy Returns" we?re usually more concerned with what time the next show is than with what movie theaters ? with their 6-dollar tubs of popcorn ? can tell us about the nature of economic competition. However, the movie theater business is ? like all arenas of economic activity ? capable of telling us something about the structure of a particular market place, the history of that commodity or service and the nature of competition in that particular market place. Movie theaters can tell us something the nature of competition and indeed about the nature of the idea of "perfect competition", a concept with roots in the work of John Maynard Keynes and his questions about the concept of equilibrium in the marketplace. Traditional economic theory assumed that a group of producers operated in a perfect market for any given commodity with each producing only a small part of the whole supply. Thus, for each producer (and for each commodity) the price was determined by the market. Each producer maximized its profits by selling only as much as would make marginal cost equal to price, in other words, each producer would produce exactly the amount that, if any more were to be produced that the additional product would add more to costs than it would to profits (MacHovec, 1995, p. 38). Each producer of any commodity (whether widgets or blockbusters) thus worked to capacity, to the point where profitability was limited by rising costs (MacHover, 1995, p. 42)."
Abstract This paper explores the issue of censorship by the U.S. government. The paper begins with a look at the first amendment and its significance for playwrights, directors and actors. Using specific plays that have aroused controversy, the writer shows what the opposition was and how the companies handled it. Finally the writer presents the debate on the responsibility of theaters, companies, sponsors and parents to know what they are viewing.
From the Paper "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceable to assemble, and to petition the government for a redress of grievances. (Cornel Law School) This is the first amendment of the United States of America; the first passage in the Bill of Rights. "Congress shall make no law...abridging the freedom of speech" (Cornell Law School). That one little passage guarantees the right of any one to say what they think; to express themselves in any creative form. But in a world and country of so many different backgrounds, beliefs, morals, and thoughts what is decent and appropriate to one person is not to another, so how do we decide what can be said and shown on stage?"
Abstract Discusses both the physical plant and the plays, how the playwrights and poets of the time functioned in the theater, how the Hellenistic model influenced modern theater, and differences.
From the Paper "This research examines the characteristics of Hellenistic theatre, including both the physical plant and the plays that appeared during the period. The research will examine the historical context in which Hellenistic theatre flourished and then discuss ..."
Abstract This paper explains that the evolution of theater in Greece may be linked directly to the festivals of Dionysus, the Grecian god of wine and misrule. The author points out that Greek theaters, including the theater of Dionysus, were not free-standing works of architecture, but rather they were built into hills in amphitheater forms. The theaters of Lycurgus replaced the original wood of the Dionysus theater with stone, reaffirming the importance of theater in the city of Athens' civic and religious life, which continued well into Hellenistic times, culminating in the Romans' added changes to the structure and including the addition of the Bema.
Table of Contents
History of Theater in Ancient Greece
Architecture of Greek Theaters Parodos
Bema of Phaidros
The Central Section
Marble Throne of the Priest of Dionysus Eleutherios and Other Priests' Seats
Skene
The Stoa on the South Side of Skene
From the Paper "The parodos of the Theater of Dionysus was a gangway leading into the orchestra over which chorus and actors made their entrances. There are two parodoi, one on each side of the orchestra. Parodos was also the name of the song chanted by the chorus as they entered the orchestra at the beginning of the play. This is another indication of the fusion of the role of ritual, the role of the chorus, and the role of architecture in early Greek theater."
Abstract This paper discusses how Hellenistic Art was primarily influenced by Alexander the Great's conquests, which introduced the culture, arts and philosophies of foreign lands into the Greek milieu and how it mirrored Alexander's pride, his vision and his stature. It looks at how the term ?Hellenistic? describes the arts that fuse the Greek with Asian traditions and reflects a shift in Greek consciousness away from the pantheon of gods toward a private, wealthy sector of art collectors. It evaluates how while the Classical arts of Ancient Greece adorned temples, Hellenistic art decorated the palaces of kings and of the private houses of wealthy connoisseurs.
From the Paper "New dynastic centers like those at Pergamum and Alexandria promoted large-scale palace architecture influenced by Oriental styles and scale. New royal patronage for the arts differed from that of Classical Greece city-state patronage. Instead of the anonymous, religious statues like that on the Athenian Parthenon, statues honored war victories, new syncretic deities, and portraiture of royal families. The faces and figures of gods and goddesses changed, influenced by the religious traditions of Egypt, the Far East and the Middle East. In short, Greece was less important to Greek art. The Classical period climaxed and left a legacy as grand of that of the Athenian Parthenon. Towns were already established, their architecture preserved."
Abstract The Noh Theater of Japan is an extremely ritualized tradition, and traces of the Noh Theater are found in Western theater. This paper explores many of the distinctive elements of the Noh Theater, such as the use of masks, the themes presented within plays, and the evolution from the old Noh Theater to a more modern presentation of Noh techniques. While the focus of this paper is on the Noh Theater, comparisons are drawn between the Noh Theater and traditional Western theater. There is also a discussion of the more dialogue-driven kyogen style of Japanese theater in respect to the more ritualized Noh Theater.
From the Paper "The impact on the Noh Theater on the Western theater can be seen to have occurred in a very diverse way. It appears that the Western theaters managed to assimilate various components from the Noh Theater, such as the use of the hitamen in performances to convey a blank countenance. However, the greatest aspect of the Noh Theater on the West is found within the development of more exacting performance techniques, where rather than a single production being subject to incongruities and shoddy acting, the standards of acting were promoted to a higher level overall."
Abstract In the history of human civilization, no one has attained greater popularity in the realm of conquest of great human civilizations in the world than Alexander the Great. This great leader, general and conqueror of early Western and Eastern civilizations in the world is renowned for his extraordinary ability to conquer and administer numerous cities and kingdoms. He is also regarded as the Great Emperor of human civilization during his time because of his ability to lead his military troops and maintain order and stability in his land despite various revolts and antagonism about his conquests, leadership abilities and decisions as a ruler. This paper presents a general biography of the life of Alexander the Great as the great leader of human civilization. However, the focus of this paper shows Alexander the Great not only as the conqueror of Western and Eastern kingdoms, but also as an individual dedicated to the cultivation of Hellenistic Civilization, which was the prevailing culture and society in his kingdoms during his time of reign.
From the Paper "Aside from his title as King of Macedonia, he was also given the title of being the Emperor of Persia, and the son of Amon-Ra, the Sun god of the Egyptian mythology. Although he acquired numerous titles under these different cultures, Alexander the Great remained faithful to the cultivation of the Hellenistic Civilization that started during the reign of his father, King Phillip II. During his reign, Alexander the Great contributed significantly to the Hellenistic Civilization through the cultivation of Greek culture, society, and politics. In Greek politics, the conquests that Alexander conducted, his method of conquering kingdoms and vast lands, as well as his leadership skills, had been the model of what politics is like during the Hellenistic civilization. The conceptualization and emergence of the great and central city of Alexandria is a perfect example of the society and culture that Alexander the Great cultivated during his reign as Emperor of these conquered kingdoms."
