| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "BRITISH THEATER IRISH": |
|
|
British Theater and the Irish, 2002.
A look at the development of the British theater through a review of the works of George Bernard Shaw, Sean O'Casey and John Millington.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
»
Click here to show/hide summary
Abstract
This paper presents a discussion and explanation about the parts three men played in the evolvement of British theater. The author of this paper takes on a tour of the lives and works of George Bernard Shaw, Sean O'Casey and John Millington. As the reader unveils these lives and works it become self evident in what influence and how each man influenced the British theater.
| |
|
The Irish Literary Theater, 2004.
Examines Lady Augusta Gregory's play, "Spreading the News," and its aim to reverse the misrepresentation of common Irishmen.
1,283 words (approx. 5.1 pages), 5 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
The Irish National Theater, established by W.B. Yeats, Lady Gregory, and others in 1897, sought to establish a theater that was distinctly Irish. This paper focuses on one of Lady Gregory's plays presented in the theater, "Spreading the News," which sought to debunk the drunken 'Irish Paddy' stereotype. A brief examination of "Spreading the News" shows how its author fulfills the Irish Theater's ambition of reinventing the way Irish people are perceived and treated on the stage.
From the Paper
"Instead the Irish are characterized as backward, religiously superstitious, poor peasants with no education who speak an Irish-English dialect. Lady Gregory's play Spreading the News (1904) is a case in point. Gregory's characters are not noble, idealized figures. Rather, Gregory seems to perpetuate the stereotype of the comical, "blarney-speaking" country rube (Watt 23). But Gregory's characterization is not intended to make over or whitewash the Irish peasant. Her aim is to show the reality of the Irish people, deconstruct the way Irish characters are represented in the theatre, and celebrate their Irishness."
| |
|
Great Irish Leaders and British Political Parties, 2002.
A detailed analysis of Irish history, with an analysis of great figures like Charles Parnell, Daniel O'Connel and Mathew Gladstone.
2,756 words (approx. 11.0 pages), 6 sources, MLA, $ 82.95
»
Click here to show/hide summary
Abstract
This paper examines to what extent the mainland Great British political parties were in agreement over Irish political, religious and economic problems in the period 1798-1893. It explains how towards the end of the period, the two parties began to disagree more on Irish issues, as William Gladstone looked to "pacify Ireland" with his conciliatory approach.
From the Paper
"Throughout the period from Wolf Tone's rebellion to the second reform act, the two mainland British political parties attempted to solve the problems of Ireland with a variety of policies. Although there are several areas of policy (such as Home Rule) were the parties disagreed, on other occasions they were singing from similar hymn-sheets. It is therefore less than straightforward to discern to what extent the mainland political parties were in absolute agreement in this period."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
W.B. Yeats and the Irish Renaissance, 2004.
Discussion of W.B. Yeats's participation in the Irish Renaissance theater movement.
1,415 words (approx. 5.7 pages), 9 sources, MLA, $ 47.95
»
Click here to show/hide summary
Abstract
W.B. Yeats was instrumental in the Irish Renaissance theater and literary movement, but critics claim that much of the movement has more to do with fairies and folklore than the hard reality of Irish history. This paper discusses these issues and concludes that, whether the works from the Irish Renaissance were idealized versions of Ireland's history written by leprechaun fanciers, or whether the literary movement's authors were attempting to bend history to suit their political tastes, the fact remains that the Irish Renaissance did help to reshape the Irish people's view of their past and how they saw themselves in the present.
From the Paper
"Blair-Ewart's argument is twofold. First, he sees the interpreters of Irish mythology and ancient chronicles as having only a superficial, subjective knowledge of Irish history that has no deep understanding of the causes or context of historically significant events. Blair-Ewart argues the Irish Renaissance authors interpreted events out of context with little or no historical evidence. This can be seen in Yeats' gleaning of folktales from peasants and publishing them as genuine Irish mythologies with little substantiation. Second, Blair-Ewart contends that the people behind the Irish Renaissance were attempting to use the past to help solve the problems of the present."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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)."
| |
|
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
»
Click here to show/hide summary
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)."
| |
|
Irish Home Rule, 2003.
A discussion on Irish home rule and British imperial policy.
4,140 words (approx. 16.6 pages), 8 sources, MLA, $ 143.95
»
Click here to show/hide summary
Abstract
This paper examines the effect of British imperial policy on home rule for Ireland. It analyzes the Home Rule question in 1886 and the broader issue of the structure and character of the British Empire. The paper explores dissension and conflict on the issue. It explains how the Irish form of government is modeled on the British parliamentary system. The author offers background of the formation of the British Empire and England's resistance to home rule for Ireland.
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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). "
| |
|
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
»
Click here to show/hide summary
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."
| |
|
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
»
Click here to show/hide summary
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."
| |
|
Irish Folklore, 2004.
An examination of how Irish folklore and myth are an integral part of Irish culture.
1,855 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
»
Click here to show/hide summary
Abstract
Irish culture is centered upon the folklore and myths that have been a significant part of Irish traditions and history. When it comes to folklore and Gaelic culture, the Irish are proud of their history and often distinguish themselves from the rest of the European culture. This paper explores traditional Irish folklore and its significance on contemporary Irish culture customs and beliefs. It also outlines factors that have contributed to the development and reservation of the Irish folklore.
From the Paper
"In order to understand how Irish folklore has shaped the cultural beliefs, traditions and customs of the Irish people, it is important to understand how Ireland is culturally unique from the rest of Europe and how it differs in geography, history and tradition. The Irish people are known as some of the best storytellers in the world and their folklore is considered to be the strongest reflection of the Irish culture. In Sean O?Sullivan?s work, The Folklore of Ireland, he describes Irish folklore as ?the oldest vernacular literature in Western Europe? (11). From O?Sullivan, we learn that the Irish are extremely protective of their folklore and the literature associated with it and that the written records of these tales date back to the 12th Century. O?Sullivan outlines three reasons why Irish folklore differs from that of other ethnic folklore in Europe. Firstly, the geographical placement of Ireland in relation to the rest of Europe allowed the Irish to draw on ideas from other countries while their isolation created an environment where their own stories and traditions could be preserved and kept as their own. "
| |
|
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
»
Click here to show/hide summary
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."
|
|
|
