| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "EPIC THEATRE": |
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Epics and Epic Heroes, 2004.
A discussion of the history of epics and what actually defines an epic.
2,526 words (approx. 10.1 pages), 6 sources, MLA, $ 76.95
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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)"
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"Paradise Lost": Epic or Anti-Epic?, 2004.
An analysis of John Milton's poem "Paradise Lost".
2,331 words (approx. 9.3 pages), 3 sources, APA, $ 71.95
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Abstract
This paper attempts to define whether Johm Milton's poem "Paradise Lost" can be classified as a true epic or as in fact an anti-epic. It looks at the proper defintitions of the terms epic and anti-epic and discusses how each of term could be applied to the poem, supported by quotations from the text. It explores the role of the "hero" in an epic by defining who the true "hero" of "Paradise Lost" is. It also attempts to understand Milton's intentions in writing the poem whether he thought he was writing an an epic or whether he was satirizing and subverting the genre by writing something very different.
From the Paper
"Christ, too, is a hero. The contrast between him and Satan, however, could not be more complete. Whereas the bravery of Christ is directed at the protection of man, Satan?s aim is destruction. Which, we must ask, is the true hero of Paradise Lost?
The temptation, when faced with the contrast between the two, is to now decide that Christ is ultimately more heroic; he has, after all, more too lose, and he sacrifices himself in the name of goodness. Satan, on the other hand, has nothing left to loose, and merely wishes to reduce mankind to the same condition he has found himself in, due to his own excessive pride."
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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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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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Roman Theatre, 2006.
This paper discusses Roman theatre and its history.
1,461 words (approx. 5.8 pages), 6 sources, MLA, $ 48.95
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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."
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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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"Theatre of the Absurd", 2002.
A study of four works by "Theatre of the Absurd" playwrights.
1,600 words (approx. 6.4 pages), 4 sources, MLA, $ 52.95
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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)."
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Forum Theatre and Peace Building, 2008.
An outline of Forum Theatre, a useful tool for facilitating conflict transformation of people directly involved in conflict situations.
3,702 words (approx. 14.8 pages), 8 sources, APA, $ 102.95
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Abstract
This paper examines the specific theater-based strategy for achieving 'peace with justice' known as Forum Theater. The paper notes that world-wide there are various theater companies, political activists and community workers who have been using Forum Theater for at least thirty years. The paper discusses two particularly different attempts to use Forum Theater as a tool for conflict transformation and resolution, one in Nigeria and the other in Canada. The paper thus analyzes these events through the lens of J.P. Lederach's three peace building gaps: the interdependence gap, the justice gap and the process-structure gap.
Outline:
The Interdependence Gap
The Justice Gap
The Process-Structure Gap
From the Paper
"It was due to its inability to bridge this interdependence gap that the Forum Theatre project in Vancouver, Canada failed. The projects goal was to submit the suggestions obtained in the performance to the local council such that new initiatives could be developed by the council to improve the situation for the vulnerable people in their community."
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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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The Royal National Theatre, 2002.
This paper discusses the Royal National Theatre as a cultural institution.
1,150 words (approx. 4.6 pages), 5 sources, $ 44.95
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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.
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Actresses in the Theatre, 2002.
An examination of how the use of real women as players significantly altered the theatrical portrayal and treatment of women in plays.
3,677 words (approx. 14.7 pages), 5 sources, APA, $ 102.95
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Abstract
This paper looks at how the introduction of women into the theatre was an epic move ? beforehand acting had not been considered a suitable pursuit for a woman. It considers the effect upon theatre of introducing the actress to the stage and in particular the effect had upon the portrayal of women in plays. It uses three plays as examples, one from before the advent of actresses Ben Jonson?s "Volpone"?, one from the same year as the first actress was allowed onstage, Aphra Behn's "The Rover" and one from several years afterwards, "The Two Foscari" by Lord George Byron.
From the Paper
"And indeed it became so obvious that with the Restoration came change, and around 1660 women were allowed on the stage for the first time. Obviously the classics such as Shakespeare were still being produced, but the roles for women in the plays written before this era are woeful. New plays were constantly demanded in the theatre, and with the introduction of actresses, a change arose in the plays. Influential playwright Aphra Behn typifies this. Her play ?The Rover?, written in 1677, is a great change from ?Volpone? ? it has many strong, convincing female characters. The main two of note are Florinda and Hellena. Both are in many ways in control of their lives, despite the best meant intentions of other men in their lives."
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Musical Theatre History, 2004.
An analysis of the history of musical theatre in the United States.
1,158 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
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Abstract
This paper briefly looks at the history of American musical theater traced back to the 18th century. It looks at various types of musical theatre pieces, such as rock musicals, revivals, classics, and others.
From the Paper
"In the 1790?s, theaters in New York City offered much more musical entertainments than mainstream theater drama. During this time, musical performances were flourishing in many other cities and commonly took place in the theater. This gave way to a the beginnings of a variety of entertainment including puppet shows, ballad operas, circuses, dances, all of which had some type of musical involvement."
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Molette and Molette's "Black Theatre", 2009.
Looks at the concept of black heroism as presented in Molette and Molette's "Black Theatre: Premise and Presentation"
765 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
This paper explains that, in Chapter 7 of their book "Black Theatre: Premise and Presentation", Carlton W. Molette and Barbara J. Molette stress the intrinsically European and Eurocentric notion of the concept of the 'universal hero' in literature; even Othello is still a resolutely European hero. The paper also points out that Molette amd Molette write that wit and irony, ritual participation and verbally inventive performance are traditional ways for black heroes to gain heroic status. The paper contends that suggesting that only the black community folklore can produce black heroes can be overly limiting.
From the Paper
"Although European drama during Shakespeare's time was intensely interactive, today only in African-American theaters is the audience such an integral part of the performance that the 'call and response' can change the entire nature of the hero-audience dynamic, one reason why going to a church, movie, or theatrical performance in the Afrocentric tradition often seems very similar in terms of its levels of audience participation."
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Human Conscience and Dramatic Theatre, 2002.
A look at the evolution of human conscience and the history of dramatic theatre through a review of three different tragic plays.
2,900 words (approx. 11.6 pages), 7 sources, $ 106.95
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Abstract
This essay examines three kinds of tragedy in the history of dramatic theatre. Greek, Shakespearean, and Modern tragedies are discussed here, and analyzed in relation to exemplary tragic plays. Antigone, Hamlet, and A Raisin in the Sun are considered in relation to the tragedy that describes their composition. The differences and similarities are discussed, and the social evolution of theatrical literature is explored in the conclusion.
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Theatre and Reality, 2006.
An analysis of the conflicted relationship between reality and the fantasy of theatre in Shalespeare's plays "The Tempest" and "Macbeth".
1,325 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper seeks to examine the relationship between the meta-theatrical elements of "The Tempest" and "Macbeth", relating especially to the link between hallucination or dreams, which serve to blur the lines between the audience's relationship with the characters, and the characters' relationships with each other. The paper points out the insinuations of unstable divisions between fiction and reality which can be read in the plays. An annotated bibliography is included with the paper.
From the Paper
"Fiction is defined by its separation from reality, a boundary which it is also conventional to cross or question. Drama, in particular, is well-disposed to make transgressions across these limits, as the audience is in both a physical and mental proximity to the workings of the characters and could easily be drawn into their story in more than a figurative sense. Shakespeare's plays Macbeth and The Tempest both prompt this sort of audience participation by leaving parts of their stories obscured to portions of the cast, so that there are shared experiences among the audience and characters, but not between characters; doing this brings the audience closer to key characters while separating those characters from their stage-fellows, and makes all parties involved, both within and without the production, realize if only for a brief moment that the story is, in fact, only a play. From Macbeth and his wife's hallucinations to Prospero's reflections on the nature of life and the stage as a dream, Shakespeare invites audiences to reconsider the meaning of drama and its relationship to life, all while making his characters all-too-aware of their status within the imaginations of another."
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