| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "NOH DRAMA": |
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Greek Tragedy and Japanese Noh Drama, 2002.
A compare and contrast analysis of ancient Greek tragedy and Japanese Noh Drama.
2,835 words (approx. 11.3 pages), 7 sources, MLA, $ 84.95
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Abstract
This paper discusses the similarities and differences between Greek tragedy and Japanese Noh Drama. It examines how although they are separated by nearly two millennia, by thousands of miles and by cultural differences, both were theatrical traditions involving masked performers, frequent use of music and dancing, on-stage choruses and historic-mythological themes and stories drawn from traditions. It looks at how later centuries' understanding of them, depends heavily on Aristotle's "Poetics" and Zeami's essays on Noh drama and how the two writers' approaches indicate the principal difference in the two traditions.
From the Paper
"Greek drama originated in the choral hymns sung to the god Dionysus. Mimed episodes were enacted to accompany the dithyrambs of the seventh century and, as Aristotle has it, a "long series of changes" ended only on Tragedy's "attaining to its natural form" (Aristotle 670). The alternation of choral song and dance with enacted scenes predominated until Aeschylus introduced the second actor and "made the dialogue, or spoken portion, take the leading part in the play" (Aristotle 670). Sophocles introduced the third actor and scenery. And tragedy acquired its magnitude by expanding its scope and increasing the dignity of its presentation. The playwrights proceeded by discarding the trochaic meter, more appropriate to dancing, for the iambic which was more like natural speech."
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Greek Tragedy and Noh Drama, 2001.
Compares the two theatrical traditions. Background of each, including Aristotle's theories on drama and influence of Zeami on the Noh repetoire.
2,250 words (approx. 9.0 pages), 7 sources, $ 79.95
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From the Paper
"Greek tragedy and Japanese Noh drama offer interesting points of comparison. Although they are separated by nearly two millennia, by thousands of miles, and by cultural differences too numerous to mention both were theatrical traditions involving masked performers, the frequent use of music and dancing, on-stage choruses, and historic-mythological themes and stories drawn from traditions with which the audiences possessed some familiarity. Both theatrical traditions had important spokesmen and the perpetuation of the traditions, as well as later centuries' understanding of them, depended in large part on Aristotle's Poetics and Zeami's essays on Noh drama. But the two writer's approaches indicate the principal difference in the two traditions as well. Aristotle, as a thinker rather than a playwright or actor, contributed to the transformation of Greek..."
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No Or/ Noh Drama, 1992.
Examines the five classes of plays, masks, religious foundation and Kabuki.
2,250 words (approx. 9.0 pages), 10 sources, $ 79.95
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From the Paper
"THE N? DRAMA
The N? drama (or it is sometimes spelled the N?h drama), had its original roots in religious ceremony. This is important in understanding the N? drama for perhaps no national theater is rooted in its nation's religion, as is the N? drama. In its very beginnings the N? drama developed "from temple festivities and dances until in the 14th century the Kanami family of actors created the form still known today."
The entire approach and attitude of N? drama can be seen by the stage, which is always very simple and virtually bare, with a single fir tree painted on the back. That the stage has remained unchanging in this simple, basic form for six centuries, gives a key to N? drama itself, for the drama and the method in which it ..."
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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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Greek Drama and the Modern Production, 2002.
A paper which examines the Aeschylean, Sophoclean and Euripidean styles of Greek Drama and how the relate to modern drama productions.
884 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
The paper examines and analyzes three distinct styles of Greek drama, focusing on the Sophoclean style by giving several examples in drama history such as "Oedipus" and the modern movie, "A Few Good Men". By comparing these styles to what a modern audience expects of a film or play, the paper shows that the Sophoclean style is the most suitable for a modern production.
From the Paper
"This shows the main aspect that makes the Sophoclean approach the most suitable style for a modern audience, the character focus. The Sophoclean styles focuses on the main character as the driving force of the play. This is the same approach taken by modern films and plays, where the plot of the play is based on the struggle of the main character. This usually involves a likeable character being presented with some problem and ultimately either overcoming this problem or learning from it. Importantly, the audience forms a relationship with the main character, with this involving the audience in the action. The film Titanic is a good model example of this. As history shows, the main event the movie is based on is the sinking of the ship and the drowning of hundreds of people. Yet, the film does not focus on this to engage the audience and drive the plot. Instead, the plot focuses on the story of Rose and Jack."
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Yuan Dramas, 2006.
A look at why drama flourished during the Yuan dynasty (1279-1368).
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
The Yuan dynasty (1279-1368) was a period when cultural innovation was occurring at a very high rate in China(Lewis 34). One of the cultural areas that went through a particularly significant period of growth during this period was drama. The question that this essay attempts to answer is why did drama in the Yuan period flourish? It is argued that drama flourished in the Yuan period for four primary reasons. These reasons are; the commercialization of entertainment and the arts during this period, the use of vernacular language, the vulgarity and humor of many of these dramas and the fact that the dramas often used stock stories and characters that were known by a wide range of people.
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The Exploration of Realist Drama, 2002.
A look at realist drama through an examination of plays, playwrights, and concepts.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This essay examines the principle elements of realist drama. The realist drama, often used in films and in plays, is best explained as the best and the worst of humanity combined into a whole. This paper addresses the realist drama with an emphasis on selected playwrights as well as the social reception of the realism movement.
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Drama, 2004.
This paper discusses the history of drama and the reasons for its survival.
2,055 words (approx. 8.2 pages), 3 sources, MLA, $ 64.95
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Abstract
This paper explains that the best dramas contain compelling characters, situations that strike a chord with the viewers, and offer solutions that apply to the ?drama? of the viewers? hectic lives. The author points out that drama has survived for so long, not only because it is an important form of entertainment, but also because it makes the audience feel something. The paper relates that, throughout history, dramas have been engaging, entertaining, and imminently popular; they show people at their very best and at their very worst.
From the Paper
"Drama gradually went out of style in the ancient world, but interest was renewed in medieval times, when church performances grew and were enhanced into outdoor plays. Secular plays were performed during this time, and the dramatic form of comedy regained popularity, too. Interest in all forms of drama continued to surge during the Renaissance, and scholars began to study the many forms of drama, and develop new types. The old dramas of Greece and Rome that had contained a chorus along with the actors were studied and reformed into a new form of entertainment ? opera. Drama continued to spread, and its' popularity paved the way for some of the world's most famous playwrights, including Shakespeare. Queen Elizabeth loved drama, and Shakespeare's work was extremely popular in her court."
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Classroom Drama, 2004.
A review of literature on the topic of using drama as a didactic tool in the classroom.
1,319 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper discusses several articles that deal with the use of drama in the classroom. The paper examines how drama instruction, such as role-play, miming, puppetry, improvisation and readers theatre, in the early elementary classroom can improve learning. The paper highlights the positive experiences that children gain from incorporating drama in their every-day lessons.
From the Paper
"Barbara Ryan Larkin (2001) shares her classroom experience with drama among elementary school students. Her young students would ask to act out stories they read in class, and once Larkin began studying the theories behind drama in education, she came to realize the beneficial effects that taking time to do so would have with student development. Rather than leaving drama for a separate area of study, Larkin found that "drama is presented as a meaningful context for children to read, write, speak, and listen. Struggling students especially seem to be motivated by this experience." (Larkin 2001) Reader's theater is one way of approaching drama in education. It is an interpretive activity where students practice and perform with each other, using methods like repeated readings and improvisation to enhance comprehension and to build on knowledge. Larkin's students responded very excitedly to reader's theater, immediately embracing the opportunity to take on characters, learn scripts, block scenes, and perform with and in front of one another. The teacher read a story to students, helped them learn the vocabulary, reviewed the entire text of the script as a class, then let students develop parts in groups. "
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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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Women in Television Drama, 2000.
This paper analyzes research investigating the portrayal of women in daytime and prime-time television drama from the early 1970s to the 1990s.
5,415 words (approx. 21.7 pages), 22 sources, APA, $ 133.95
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Abstract
This paper reports that research findings indicate, especially in the 1970s, that women were under-represented and constrained to the narrow mold of housewives and mothers, both in daytime and prime-time television drama. The author points out that the women's movement has had a noticeable effect on the depiction of women; however, there are still traits of under-representation of woman, even in the 1990s and 2000s. The paper relates that researchers disagree as to whether the daytime portrayal of women is relatively more positive in daytime drama than in prime-time drama; however, the researchers do concur that, in both these time periods, women are portrayed as being incompetent in keeping the patriarchal system from interfering with their lives. The paper includes many quotations several of which are embedded in the text.
Table of Contents:
Introduction
The Early 1970's
A Turning Point: Cagney and Lacey
Discussion
Conclusion
From the Paper
"With the overt manifestations of women's movement, questioning conventional cultural perceptions of femininity in various spheres such as labor, family, sexuality and economy, prime-time network television began its quest to respond to these new discourses. In the late 1970s, prime-time television "was generating portrayals of women that drew-in various ways and to varying degrees-on the new feminist consciousness, particularly that of the U.S. liberal women's movement." "Cagney and Lacey" provided a sharp contrast to the conventional images of women on television and met the multidimensional character imposed by the woman movement's discourses."
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Drama, 2006.
The drama as a literary form and as a performance art using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer.
1,400 words (approx. 5.6 pages), 0 sources, $ 46.95
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Abstract
Using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer, this paper shows how the underlying impetus for drama has from the first been the depiction of conflict. The paper reveals how dramas developed from a religious festival and then became a celebration in itself. Drama, as a literary form and a performance art, involves human beings acting out their inner emotions in a public way and interacting with one another over emotions, ideas, and situations.
From the Paper
"All of these elements are presented in the epic poem, while in a drama, many of these elements would only be mentioned or would be left as knowledge the audience already has because they know the story. Drama is more selective, more concise, and more focused on the dramatic situation than on the sweep of a large-scale story. The dramatic situation in this one scene has shifts and turns even in the short time covered. Priam takes a ransom with him consisting of twelve robes, twelve cloaks, twelve blankets, twelve capes and shirts, ten bars of gold, two tripods, four cauldrons, and a Thracian cup. Priam arrives and immediately grasps Achilleus by the knees, telling of his grief and of the need for Achilleus to be compassionate and to return the body of Hektor. For his part, Achilleus speaks of his won victory by reminding Priam of all that the latter has lost, but he also shows that he is fully aware that the gods have guided Priam to this place and that he must return Hektor to his father. The tension of the opening is never fully dissipated even as Achilleus shows his hospitality and makes certain promises to Priam about holding off the fighting for twelve days while the Trojans bury the son of their ruler. However, just as it appears that the situation is concluded, the god Hermes comes to Priam and warns him to leave now because if the Greeks find him asleep in the morning, they may decide he is worth more as a ransom and will not allow him to leave as Achilleus has promised."
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Drama Therapy, 2004.
An analysis of the use of drama as a tool for therapy.
1,539 words (approx. 6.2 pages), 6 sources, MLA, $ 50.95
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Abstract
This paper examines the innovative method of psychotherapy, drama therapy. The paper presents a definition of drama therapy, a description of the techniques used, requirements for professionals in this field, types of disorders drama therapy is designed to treat,and some reactions and opinions of this process. Lastly, the paper provides a personal reflection, with a touch of humor, on how this approach may be applied to the author's counseling practice.
From the Paper
"Drama therapists can find, for instance, fictional works with a theme similar to the patient's real-life circumstances. By acting out these fictional roles rather than real life situations (which may be very painful), individuals may safely work through some difficult issues.
According to Theories of Psychotherapy and Counseling, therapists sometimes take on the role of actor to assist the client work through an obstacle. For example, the therapist may wish to project the image of a large authority figure to provoke a response from the (timid) client. (Scharf, 2004, p.566) In this situation, the therapist goes beyond the traditional role- playing method of therapy by helping the client become more aware of emotions, develop interpersonal skills, and deal with a variety of psychological problems. (Scharf, 2004, p. 567) Additionally, it is believed that transference and countertransference issues between patient and client can develop more quickly using this method, particularly on an individual basis. (Scharf, 2004, p.566)"
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History of Drama, 2006.
A review of the three styles of drama and the evolution of Western dramaturgy.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper examines the history of drama and its steady and sometimes spectacular evolution over time. The paper reviews the contributions of the ancient Greeks to western dramaturgy and then proceeds to look at the innovations of the early moderns. The paper then examines the modern age and considers the peculiar development of what can best be described as non-realistic or some might say nihilistic drama.
From the Paper
"The following paper will explore the history and evolution of drama over time while noting the constancy of tragedy, comedy and farce despite the steady parade of changes which have transformed western dramaturgy in fundamental ways. It will begin first by examining the development of "western" drama in the age of the Greeks and it will proceed from there to discuss the innovations of the early modern period (as especially typified by Shakespeare). Not content to end simply with Shakespeare, the paper will look at the modern age and the arrival of non-realistic (some might argue nihilistic) drama and its most fundamental features."
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Early English Drama, 2004.
This paper studies three early English dramas in relation to morality, church and religion.
1,582 words (approx. 6.3 pages), 3 sources, APA, $ 55.95
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Abstract
In this article the writer analyzes three early English dramas 'Noah's Flood', 'The Second Shepherd's Play' and 'Everyman'. The writer discusses these dramas according to their commonalities in relation to morality, Church, and religion.
From the Paper
"The values in art of any era often reflect the most pressing concerns and staunchest values of the culture in which that art is produced. The case is no different in three literary works of early English drama, 'Noah's Flood', 'The Second Shepherd's Play' and 'Everyman'. Each of these works shares commonalities with respect to the values that are exhibited as positive in each of them. All of these plays demonstrate that only a life lived in accordance with Church doctrine and God's commandments will ... "
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