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Artaud?s Theater, 2002.
This paper takes a look at Antonin Artaud's techniques of bringing performance to the stage.
906 words (approx. 3.6 pages), 3 sources, MLA, $ 32.95
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Abstract
According to the paper, Artaud's theories are based in part on Cambodian and Balinese dance, extolling a form of "total theater," where visual images, gesture, light, sound and noise take precedence over the written or spoken word. The writer compares this work to that of Jerzy Grotowski's whose approach to theater centers on the actor. The paper finally reveals the commonality of Artaud and Grotowski: the element of shock.
From the Paper
"Our "theater of cruelty" production has the spectator in the center surround by the spectacle of the play (Artaud 81). Sound and violent physical images swirl about the viewers. Images of crime, love, war, and madness all assault the audience in a revolving spectacle which spreads its "visual and sonorous outbursts" (Artaud 86) over the entirety, reigniting its tired psyche with "intense and sudden shocks to revive our understanding" (Artaud 86). Costumes are ritualistic; masks are often but not always used; musical instruments enhance the work, from ancient drums to the newest synthesizer's sonic extremes; and lasers and very special lights play their part as the "fusillades of fiery arrows" (Artaud 95) that Artaud dreamed. All can now be realized with our current technology."
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Japanese Noh Theater and the Traditional Western Theater, 2000.
A comparison of the evolution and development of two distinctive forms of theater.
1,965 words (approx. 7.9 pages), 6 sources, $ 62.95
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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."
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The Danger of Theater, 2004.
An analysis of the danger of theater, according to the ideas of Plato, Artaud, and Boal.
4,106 words (approx. 16.4 pages), 5 sources, MLA, $ 110.95
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Abstract
This paper contends that theater can be dangerous on a variety of levels. The paper presents Plato's main concern, that art distracted otherwise reasonable people from using their reason to rule the other faculties. This concern appears to be a prominent feature in the dangers posed by the theater as expounded by Artaud and Boal. Artaud's theater concentrates mainly on the psychological aspect. It places people in touch with the primitive and instinctive to the detriment of reason. While the advantage here is that repressed emotions are revealed to be examined and possibly healed, it is also possible that a permanently broken psyche may result. The paper discusses Boal's theater, on the other hand, that poses a variety of levels in terms of both danger and healing. There is a psychological aspect that may be seen as similar to Artaud's theater. At the psychological level, Boal also addresses the subconscious in terms of dissatisfaction. In extreme cases, this may lead to a breakdown between the desired state and the state of dissatisfaction. The mental and physical aspects of danger are detailed in the paper.
From the Paper
"The theater is probably the medium of art by means of which the most prominent of social sentiments can be depicted. Furthermore the theater lends itself to a variety of forms, including the highly experimental. One of the most recent evolutions in theater has been including the audience in the setting and theme of the play. Indeed, among the most modern thinkers is Augusto Boal, who takes this paradigm a step further in allowing the audience to actively take part in the creation of the very events within the play. The idea that art in whatever form could pose a danger to society and its way of life originates with Plato, whose main concern was with the art of poetry. Plato's thought was embedded in the politics and social structure of his time. According to him, then, the danger of poetry lay in the fact that it could distract citizens from their duties as citizens in the Republic. The role of poetry during Plato's time then was more or less the same as the role of theater today."
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"Ubu Roi", Directed By Antonin Artaud, 2000.
An examination of Artaud's interpretation of Alfred Jarry's play, focusing on the "theater of cruelty" and ideas of Jerzy Grotowski.
900 words (approx. 3.6 pages), 3 sources, $ 31.95
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Abstract
"Antonin Artaud's theater of cruelty techniques are springboards for the director's imagination. His theories, based in part on Cambodian and Balinese dance, extol a form of "total theater," where visual images, gesture, light, sound, and noise take precedence over the written or spoken word.
From the Paper
"Antonin Artaud's theater of cruelty techniques are springboards for the director's imagination. His theories, based in part on Cambodian and Balinese dance, extol a form of "total theater," where visual images, gesture, light, sound, and noise take precedence over the written or spoken word. This potent combination is used to disturb the subconscious of the audience and kindle their imaginations. These images are often shocking, but as Artaud explains, "We are not free, and the sky can still fall on our heads; and the theater exists to remind us of this fact" (Artaud 79).
Alfred Jarry's King Ubu displays "the spirit of profound anarchy which is the root of all poetry" (Artaud 42), and this can be seen in Act IV of the play as Pa Ubu states,
We'll stay on top of this hill and we'll not be so..."
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The Elizabethan and Jacobean Theater.
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
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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."
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Italian Renaissance Theatre, 2002.
A discussion of the Commedia Del Arte Theatre and contributions of Italian Renaissance theatre to Western theater.
1,453 words (approx. 5.8 pages), 8 sources, MLA, $ 48.95
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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)."
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Antonin Artaud and Bertolt Brecht, 2005.
This paper serves as an analysis of the different forms and purposes of theater offered by Antonin Artaud and Bertolt Brecht.
1,350 words (approx. 5.4 pages), 5 sources, APA, $ 47.95
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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 ... "
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Kabuki and American Theater, 2005.
An examination of how kabuki, a traditional form of Japanese theater, and American theater have had an impact on each other.
1,145 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
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Abstract
This paper examines how three main groups of kabuki plays, the dance-drama, historical drama, and domestic drama make up the majority of kabuki theater and how they are adapted either from puppet theater, from kyogen dramas, or plays written specifically for kabuki. It looks at how Tokyo's Shochiku Company is one theatrical group that has made an impact on American theater by presenting kabuki in the heart of the U.S., in Texas.
From the Paper
"Kabuki has its origin in Japan's Edo period. The form can be traced back to performances by female shrine dancer Okuni in a dry riverbed in 1603. The dances performed by Okuni and her fellow female dancers combined religious dances and folk dance. Okuni's performances became highly popular, and many troupes soon imitated the style. Performances became increasingly risqu? and boisterous, and women were banned from performing in 1629. In 1652, a brawl between two samurai competing for the attentions of a young male actor spurred authorities to ban young men under the age of 14 from appearing in kabuki (Spencer)."
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The Theater of Dionysus, 2004.
This paper discusses the ancient Greek theater and the area in which the drama was presented called the Theater of Dionysus.
1,110 words (approx. 4.4 pages), 6 sources, APA, $ 38.95
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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."
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Political Theater, 2004.
Shows how El Teatro Campesino Theater and The Bread and Puppet Theater exemplify examples of political theatre.
959 words (approx. 3.8 pages), 3 sources, MLA, $ 34.95
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Abstract
Political theater, at its best, emphasizes an important societal issue of the day and delivers a message to viewers of all backgrounds and interests without being a political party line or single-dimensional in nature. This paper examines two theaters in this category, El Teatro Campesino from California and The Bread and Puppet Theater in New York. It describes the formation and history of these two theatrical companies and examines their messages through the shows which they produce.
From the Paper
"El Teatro is popular theater geared toward expression of social, political and cultural messages. It is a theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism (Heyward). It cannot be ignored. Valdez, like Schumann believes in a total theater?one where an elevation of sensation is achieved through a range of different emotions and art forms to make the audience more politically aware."
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Postmodernism in Theater, 2004.
A review of different forms of theater in the Western world and how theater has evolved as an art over the past few centuries.
1,724 words (approx. 6.9 pages), 2 sources, MLA, $ 55.95
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Abstract
The purpose of this paper is to see how the society has changed in retrospect to the period from modernism to postmodernism, creating awareness to different perspectives on analysis in today's world. It attempts to show how the best way this can be understood is through the developments in the world of theater and how the theater functions as an artifact and a metaphor of the times.
Outline
Different Forms of Theater
Postmodern Theater
Actors and Audiences
Robert Wilson
Peter Brook
From the Paper
"The modern theater is characterized by a narrative plot where the actors play out roles of everyday people who tell a story based on life's tragedies and conflicts, with the unfolding tragedy or comedy developing at a beginning and ending with the last act of the play. The aim of these plays is to stretch the audience's comprehension of existing reality, to being forward the truth that is basically obscured. Even though the results of the actors' behaviors are mostly tragic. The audience becomes emotionally aroused with the characters of the play. This is seen in reactions to Willy Loman in the play Death of a Salesman and in Blanche DuBois play, A Streetcar Named Desire."
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The Manitoba Theatre Centre, 2004.
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.
2,392 words (approx. 9.6 pages), 12 sources, APA, $ 73.95
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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). "
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The Globe Theatre, 2005.
A look at the history of the physical and sociological development of the modern theater, focusing on the Globe theater and the involvement of William Shakespeare.
1,850 words (approx. 7.4 pages), 7 sources, MLA, $ 59.95
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Abstract
The origins of theater in the ancient world were centered around religion and the gods and the Globe theater continued that tradition in Elizabethan England with the help of contributions from Shakespeare. The paper examines how the design of the open-air theaters in Athens may have inspired the architecture of theaters, such as the Globe, that were built in England many years later. It also discusses how William Shakespeare was one of the partners from among the actors and how his own money, as well as artistic work, went into the theater.
From the Paper
"In the 1570s, a man named James Burbage obtained for himself a theatrical license, which allowed him to actually lease a piece of land to be used exclusively by a theater. It was a long-term lease which gave him a great deal of control over the land and the freedom to construct or deconstruct buildings on it as he pleased. This was a landmark event all around, for this was the first theatrical license granted in England; The Globe Theatre was a part of many landmark events in English theater. The location was on the north shore of the Thames River, and it sat just outside of London. The location was actually a strategic move for Burbage, for within the city limits of London he would have faced far more scrutiny and protest for building a theater, which was not considered to be an upright establishment, and ranked in many people's minds right along brothels so far as morality is concerned."
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Hispanic American Theater in America, 2002.
Looks at the history and future of Hispanic American Theater and discusses prominent Hispanic theater groups and artists in the U.S.
1,900 words (approx. 7.6 pages), 7 sources, $ 71.95
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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.
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The Evolution of the Roman Theater, 2005.
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.
2,698 words (approx. 10.8 pages), 7 sources, MLA, $ 80.95
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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."
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