| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "ELIZABETHAN THEATER DRAMA": |
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Elizabethan Theater and Drama, 2005.
A discussion of how Elizabethan theater changed how plays were produced.
2,154 words (approx. 8.6 pages), 5 sources, MLA, $ 67.95
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Abstract
This paper discusses the many ways that the Elizabethan theater changed drama. It explains that the emergence of Shakespeare and other playwrights turned out to be perfect timing for the new way in which plays were acted out. The structure of the theater during this time changed the relationship between the audience and the actors by bringing them closer together, as well as encouraging the audience to use their imagination. It discusses how the intimate structure of the theater and the fascinating material changed how theater would be perceived and defined forever.
From the Paper
"The Elizabethan stage was different from previous stages because it ?utilized an open platform stage inherited from medieval theater? (Wilson 279). Wilson notes that the theater buildings had a character ?all their own? (Wilson 279). Another significant difference between Elizabethan theaters and earlier theaters was the fact that Elizabethan theaters did not have painted scenery. Because of the nature of how plays were performed, the platform stage had to be a rather neutral playing area ?which could become many different places in quick succession? (279). Because a play?s action moved swiftly, this type of stage was not only convenient but also essential to provide a sense of continuous action as the play progressed."
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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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Elizabethan Drama, 2008.
This paper examines "Shakespeare's Contemporaries" edited by Max Bluestone and Norman Rabkin.
903 words (approx. 3.6 pages), 1 source, MLA, $ 32.95
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Abstract
The paper discusses "Shakespeare's Contemporaries", a collection of critical essays on Elizabethan drama. The paper focuess on the essays pertaining to Marlowe's "Dr. Faustus". The paper also argues with Alfred Harbage's introduction, which claims that Elizabethan criticism of popular Elizabethan drama does not exist.
From the Paper
"The essays pertaining to Marlowe's Dr. Faustus written by Arthur Mizener and W. W. Greg are asking for a re-reading of the play in order to talk about it and teach it. They defend Marlowe's use of language by criticizing essayist Charles Lamb's comments of the early 1800s that Marlowe was a poet. They address the critical complaint that once Dr. Faustus has the power he demands, he gives in to it too easily and goes to hell. They defend that Marlowe did that purposely in order to show the betrayal of ideals. "But the logical outline is there, and I must differ from Marlowe's critics, and believe that when he sketched that outline Marlowe knew what he was about." (p 97 Greg essay). Although Dr. Faustus has given in to the power of Lucifer, his decline is slow as he questions the existence of hell, "I think hell is a fable," (Act II scene I l128)."
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Elizabethan and Jacobean Renaissance Drama, 2002.
A study of these two theater genres.
2,000 words (approx. 8.0 pages), 12 sources, MLA, $ 63.95
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Abstract
Using two plays, Christopher Marlowe?s ?Doctor Faustus? and John Webster?s ?The Duchess of Malfi?, the paper explores the theater genres of the Elizabethan and Jacobean periods. Through Marlowe?s play, the paper explores Elizabethan theater and through Webster?s play it studies Jacobean theater. The genres are looked at in the context of being considered the beginnings of the Renaissance and a shift from the Medieval period to a more human-centered view of the universe.
From the Paper
"The plays Doctor Faustus by Christopher Marlowe and The Duchess of Malfi John Webster are both from one of the most productive eras in British drama, the period covering the Elizabethan theater and the Jacobean theater that followed. This period can also be considered the beginnings of the Renaissance and so a shift from the Medieval period to a more human-centered view of the universe."
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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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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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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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Ancient Greek Theater, 2006.
A paper on ancient Greek drama, the Greek theater and ancient Greek playwrights.
2,413 words (approx. 9.7 pages), 9 sources, MLA, $ 73.95
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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."
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Shakespearean Conjuring, 2002.
A discussion of Elizabethan theatre and the magic that takes center stage in many of Shakespeare's works.
11,873 words (approx. 47.5 pages), 33 sources, MLA, $ 230.95
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Abstract
This paper explores the society of the period by examining the impact the Renaissance had on England, and the fact that its diverse trends had been elaborated into divergent and sometimes extreme forms.
The paper describes of the origin of the period?s obsession with the occult and the mystical, and explains the plethora of fantastic and mythic creatures running throughout the gamut of Elizabethan theatre.
- T A B L E - O F - C O N T E N T S -
INTRODUCTION
CHAPTER I ? The Magus in Society, The Life of John Dee
CHAPTER II ? Knowledge as Power, Representation of Magic as Knowledge
CHAPTER III ? Marlowe and the Magic of Faustus
CHAPTER IV ? Societal Instability and the Power of the Unknown
CHAPTER V ? The Connotations of Magic Use as Related to the Goals
CHAPTER VI ? Prospero?s Relation to the Magus in Renaissance Society
CHAPTER VII ? The Debate over the Morality of Prospero
CHAPTER IIX ? The Ambiguity of Prospero?s Morality
CHAPTER IX ? The Failure of Prospero
CHAPTER X ? The Meaning of the Magus
CONCLUSION
BIBLIOGRAPHY
From the Paper
The presence of mystical themes is prevalent throughout the theatrical works of the Elizabethan era, almost every play had a ghost, monster, witch, alchemist, etc. of some sort contained within it. What was the origin of the period?s obsession with the occult and the mystical, why is there such a plethora of fantastic and mythic creatures running throughout the gamut of Elizabethan theatre?
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Chorus in Ancient Greek Drama, 2005.
The paper describes the role of the chorus in ancient Greek theater. It talks about the origin of the chorus and theater and how the chorus worked in the Euripides's "Hippolytus". The paper also focuses on the effect Greek theater had on modern theater.
1,824 words (approx. 7.3 pages), 6 sources, MLA, $ 58.95
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Abstract
This paper tells what the chorus brought to Greek theater and how theater was shaped because of it. The paper discusses this topic while examining one of the most famous Greek play, "Hippolytus," by Euripides. The chorus was a crucial part of theater during that time and was used to narrate the story, give their opinion of the plot, and keep a rhythm for the play. The chorus did this in various ways, such as through costumes, stage presence, music, and singing. The Greek chorus was a precursor to operas and musicals as we know them today, and the paper discusses this evolution of the chorus.
From the Paper
"The chorus is essential to ancient Greek drama, and the plays at that time were greatly dependent on song and dance which the chorus performed (Ley 28). It accompanied the actors with sounds, gestures, postures, costumes, masks etc, and these flowing actions and stage elements brought the play to life. The various roles of the chorus are to narrate, give their opinions and keep the rhythm of the play. They do this through singing, movement, and stage presence. The ancient Greek theater is also important because it was the precursor to operas and musicals as we know them today. This paper will discuss the importance of the chorus' roles on the Greek stage by examining Euripides' Hippolytus and also how it influenced modern theater. To fully understand the reason for the chorus it is necessary to know the history."
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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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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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Drama, 2002.
Explores the purpose of drama and how drama has changed over time through several works.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper compares "Oedipus Rex", the various plays of Shakespeare, and "Cat on a Hot Tin Roof", thereby demonstrating the purpose of drama and how drama has changed over time.
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Twenty Years of Drama, 2004.
Examines the changes, trends, and evolution in the entertainment industry.
5,530 words (approx. 22.1 pages), 17 sources, MLA, $ 134.95
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Abstract
This report presents an analytically critical paper regarding the trends of the entertainment industry, with a main focus on the drama and theater industry. The paper addresses the topic decisively, attempting to find reasons and supporting arguments for why the loss of media like the theater industry reflects on human nature. The paper also tries to show that the basic premise of the theater industry is in dire straits, and that position should become a common concern for society. Furthermore, this report attempts to develop sound reasoning in support of the conclusion that the overall change or shifts in the mode of entertainment in the last 20 years make it difficult for the drama and theater industry to maintain its standing in the entertainment community. Finally, the report tries to show what society wants and why, suggesting that, as today?s younger generation continues to be driven the Internet, cell phones, and satellite television, a lack of human contact and the development of the computer age have been too strong an influence and that people have a combination of more interesting, yet at the same time, more stressful lives.
Drama and Attendance
Audience and Fan Base
9/11 -- New York
Introducing Children to the Theatre
Alternatives to Theatre and Violence
Today's News
From the Paper
"The theater has outgrown its role as a palace for vaudeville performances. This report is an attempt to show what society wants and why it the theatre industry is not capable of meeting those needs and expectations. As today?s younger generation continues to be driven by reality TV shows, Microsoft messenger chat capability, cell phones that take pictures and satellite TV with over a thousand channels of nothing, this report proposes that a lack of human contact and the development of the computer age continue to strangle our ability to interact with one another. The medium of live theatre no longer meets the needs of a population that have a combination of a more interesting yet at the same time more stressful life."
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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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