| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "TIME THEATER": |
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Time in Theater, 2002.
A look at the theme of time in the play "For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf" by Ntozake Shange.
2,036 words (approx. 8.1 pages), 8 sources, MLA, $ 64.95
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Abstract
The paper discusses "For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf", a play featuring seven women, and the tales they tell which are all related to different periods in time. The paper examines how the women recount aspects of their lives primarily as memory, showing that they are bound with time to the degree that they are remembering it and acting it out for the audience once more, while being free enough from time to bring all memories into the performance present. The paper also compares other expressionist plays such as "The Lesson" by Eugene Ionesco and "Endgame" by Samuel Beckett to Shange's work.
From the Paper
"Realism and expressionism are matters of point of view and resulting style. Realism looks at the world as it appears objectively, while expressionism is a reaction against current ideas of realism. The inner psychology of the mind is considered a more important reality than the external reality depicted by earlier playwrights, and indeed the inner reality may be the only reality. Expressionist drama is often more theatrical in shaping a reality that exists only on stage as a deliberate representation of the inner mental states of characters. The two trends can exist in some degree at the same time in a given play--The Zoo Story is realistic in some respects but expressionistic in the way it isolates these two individuals in a seeming limbo so that they are not really in a park near a zoo but are instead types battling over mental states, attitudes, and visions of society. Expressionist drama tends to place the individual against a dehumanizing society. This theme can be explored in realist drama as well, but the staging in expressionist drama takes the action from the real world and builds an image of the inner mental state of the individual as a staging ground for the action."
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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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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 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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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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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 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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19th Century American Theater, 2004.
Discusses the history of theater in America in the 19th century.
2,020 words (approx. 8.1 pages), 7 sources, MLA, $ 63.95
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Abstract
By the mid-19th century, theater in the United States had undergone a dramatic transformation. Theater became enormously popular and attracted a more genteel and wealthy audience. The paper shows how plays by American writers began to showcase social concerns, and actors and actresses enjoyed a new-found status as respected members of society. "Uncle Tom's Cabin" became one of the most popular plays of the time and typified American theater's new focus on social conditions. The paper shows that the last half of the 19th century marked significant changes in American theater. These changes were partially spurred by the large population growth in East Coast cities. As America grew, the number of theaters increased. Also as America's leisure time increased and wages increased, Americans looked to the theater for entertainment. The paper explains that improvements in transportation allowed actors and actresses to tour parts of America that had never had professional theaters, and the result was an explosion in the popularity of the theater.
From the Paper
"The historical accuracy of Uncle Tom's cabin was also indicative of the move toward the historical accuracy of sets, costumes, and dialects seen in 19th century theater (Robinson). The play is a 'melodrama', or simply a play with music, allowing American audiences all over the country exposure to the music of the Negro spiritual, which contained a complex mixture of dialect and music that depicted black culture of the time. In ACT II, Scene 4, Topsy sings 'Oh, I'se So Wicked', a song that characterized the life and dialect of southern slaves, and depicted the degradation of slaves."
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Developments in the Theater, 2002.
A paper discussing the recent developments in theater that increase audience?s experiences of the truth, rather than confirming their notions of what they experience as lived reality.
1,580 words (approx. 6.3 pages), 7 sources, $ 51.95
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Abstract
The following paper examines how theatre has changed since the times of Shakespeare, focusing on changes in the actual design of theatres, subjects of texts and particularly changes in dramatic character?s language which has grown more heightened and more strange and removed from reality. This paper addresses issues of notions of linear time in plot structure, climatic plots and character composition with reference to several contemporary and classic plays, such as Margaret Edison's, "Wit", Terrence McNally's "Master Class" and Ibsen's "Peer Gynt". Characters in their psychology seem more fragmented and strange, less like the people we meet on the street because of their language, but also because authors are more willing to show characters in different points of their life, as in ?Master Class Better to give audiences a new perception of truth than to attempt to confirm audience?s preexisting expectations of character, art, and life, says the modern theater and modern authors. Although the attempts to do so are often unpleasant and jarring, they are equally often haunting and moving.
From the Paper
?The plays ?Master Class,? ?Art,? and ?Wit,? similarly use of heightened language to challenge the expected notions of the audience and what reality is. ?Master Class? does not have a clear beginning and an end in the sense that it jumps back and forth in time and place in the protagonist?s Maria Callas? mind. The setting is ostensibly a master class taught by the singer, but the real drama is within the woman, not in external action. Callas is a real person, but the story does not evolve through real time. Instead, song drifts in and out of Callas? voice, but these songs do not feature vocals during the play. Instead it is the voice of Callas in the past that fills the room, from recordings, even though the character that begins the play can no longer handle the demands of an operatic soprano aria."
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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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17th Century English Theater, 2002.
This paper discusses playhouses and theaters in England in the 17th century.
1,110 words (approx. 4.4 pages), 11 sources, MLA, $ 38.95
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Abstract
The paper shows that the English stage during the late 17th century was a time of rebuilding, and also a time of creation. There were many different ideas on what theatre should be and it was very common for one person to have an idea, and as soon as it was known, opposing ideas were quickly published, followed by various defenses of the original idea. The paper discusses several people who were well known for their opinions from that time period, including Jeremy Collier, John Dryden, Alexander Pope, William Congreve and William Stubbs.
From the Paper
"When the Stuart Dynasty returned to the throne of England in 1660, the playhouses were reopened. In August, Charles II issued patents for two companies of players, and performances immediately began. However, theatre had evolved a bit. The Royalty and the Nobility, as well as a few independent companies now owned theatrical troupes. Often the ones that had permanent theatres such as Convent Garden, Drury Lane and Dorset Garden had Noble backers to provide for the upkeep. Costumes were often second hand garments that the nobility no longer desired. Slowly the better-kept theatres became places to see and be seen. Often what was going on in the auditorium was just as much, or more interesting then what was on stage. The style of the playwriting was of a lesser form then that of the Elizabethan plays. It frequently utilized stereotypes and stock characters."
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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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