Morality in:as Performance
... While clearly distinguishing between morality and ethics3, I engage in my approach with several ethical accounts that offer useful insights into the modes in which morality is/can be constructed, such as those of Plato, Aristotle, Nietzsche, Hegel, and Levinas. I do not privilege any of these theori ...
... While clearly distinguishing between morality and ethics3, I engage in my approach with several ethical accounts that offer useful insights into the modes in which morality is/can be constructed, such as those of Plato, Aristotle, Nietzsche, Hegel, and Levinas. I do not privilege any of these theori ...
NB James Hook pantomime at Richmond Theatre
... British Custody Act of 1839, which had begun, at least, to undermine the almost total power 19th-century British men had previously wielded over their wives and families, the simple obedience to male authority displayed by Iphigenia was no longer the unquestioned ideal it once had been. The fate of ...
... British Custody Act of 1839, which had begun, at least, to undermine the almost total power 19th-century British men had previously wielded over their wives and families, the simple obedience to male authority displayed by Iphigenia was no longer the unquestioned ideal it once had been. The fate of ...
3.Renaiss.English.drama 106KB Feb 14 2017 04:45:58 AM
... Foakes, R. A. "Playhouses and Players." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. Cambridge: Cambridge UP, 1990. 1-52. Gillies, John, and Virginia Mason Vaughan. Astrophil and Stella and Love's Labor's Lost." In Playing the Globe: Genre and ...
... Foakes, R. A. "Playhouses and Players." In The Cambridge Companion to English Renaissance Drama. Ed. A. R. Braunmuller and Michael Hattaway. Cambridge: Cambridge UP, 1990. 1-52. Gillies, John, and Virginia Mason Vaughan. Astrophil and Stella and Love's Labor's Lost." In Playing the Globe: Genre and ...
Public and Performance in the Greek Theatre
... examples, a number of them still in use. Scholars argue endlessly, and ultimately unprofitably, about the details. Many features of the theatres remain obscure to us for lack of information. We have no contemporary description of the structures that Aeschylus and Sophocles wrote for and acted in. Pr ...
... examples, a number of them still in use. Scholars argue endlessly, and ultimately unprofitably, about the details. Many features of the theatres remain obscure to us for lack of information. We have no contemporary description of the structures that Aeschylus and Sophocles wrote for and acted in. Pr ...
Grecian Theater in Philadelphia, 1800-1870
... Even a play explicitly based on Athenian drama could draw from several different tragedies rather than attempting to present a single ancient drama on stage. Talfourd’s Ion, or, The Foundling of Argos, which had at least 31 separate, multi-evening runs in Philadelphia between 1836 and 1867, is not, ...
... Even a play explicitly based on Athenian drama could draw from several different tragedies rather than attempting to present a single ancient drama on stage. Talfourd’s Ion, or, The Foundling of Argos, which had at least 31 separate, multi-evening runs in Philadelphia between 1836 and 1867, is not, ...
the illusion - Court Theatre
... fiercely defensive of his work. Early in his career, he famously quit the “Five Authors,” a company of playwrights who wrote plays based on topics suggested by Cardinal Richelieu. Known for his vainglorious but independent spirit, he was kept out of the French Academy for years because of his refusa ...
... fiercely defensive of his work. Early in his career, he famously quit the “Five Authors,” a company of playwrights who wrote plays based on topics suggested by Cardinal Richelieu. Known for his vainglorious but independent spirit, he was kept out of the French Academy for years because of his refusa ...
A Different Perspective in Theatrical Conventions with
... to become the bad man Shui Ta in order to survive; Mother Courage sacrifices her children in order to make a living; Galileo abandons pure scientific pursuit because of its implications; and Puntila, who is generous when drunk, reverts to brutality when sober. The point is that these many contradict ...
... to become the bad man Shui Ta in order to survive; Mother Courage sacrifices her children in order to make a living; Galileo abandons pure scientific pursuit because of its implications; and Puntila, who is generous when drunk, reverts to brutality when sober. The point is that these many contradict ...
THE REAL THING?1 ADAPTATIONS, TRANSFORMATIONS AND
... (the Moor in Vienna), in England “the Moor of Fleet Street”, in Spain “il moro de Valencia” (the Moor of Valencia). This approach involves the vulgarisation of the characters: all figures are generally lowered in their social standing and their language, characters who in the original are complex ar ...
... (the Moor in Vienna), in England “the Moor of Fleet Street”, in Spain “il moro de Valencia” (the Moor of Valencia). This approach involves the vulgarisation of the characters: all figures are generally lowered in their social standing and their language, characters who in the original are complex ar ...
THE OCCULT AS A DRAMATIC DEVICE IN SHAKESPEAREAN
... were well established by the time he appeared on the historical scene, and it is inevitable that he would work within the framework of a continuing tradition, even though in the end he might modify or depart from the tradition. ...
... were well established by the time he appeared on the historical scene, and it is inevitable that he would work within the framework of a continuing tradition, even though in the end he might modify or depart from the tradition. ...
Physical theatre as an approach to contemporary stagings
... Bacchae, the experimental process yields some further difficulties as it is a theatre form with particular structural and conceptual features, as well as being a play which keeps some difficulties due to metaphysical elements. Research questions From the beginning my interest was focused on the rese ...
... Bacchae, the experimental process yields some further difficulties as it is a theatre form with particular structural and conceptual features, as well as being a play which keeps some difficulties due to metaphysical elements. Research questions From the beginning my interest was focused on the rese ...
Word - Keith Sagar
... that he became comepletely inaudible. As late as the 1940s both Olivier and Gieldud performed Lear against distractingly realistic storms. We have now recovered the spare, flexible theatre of Shakespeare's time. We realize that Lear can create a far more impressive storm in our imaginations than cou ...
... that he became comepletely inaudible. As late as the 1940s both Olivier and Gieldud performed Lear against distractingly realistic storms. We have now recovered the spare, flexible theatre of Shakespeare's time. We realize that Lear can create a far more impressive storm in our imaginations than cou ...
An analysis of modern adaptations of Euripides` Medea and Trojan
... (Medea) or Rutherford (Trojan Women) cannot be used as play scripts as they are not written ...
... (Medea) or Rutherford (Trojan Women) cannot be used as play scripts as they are not written ...
PDF of entire volume (110pp, 3MB)
... Lysistrata, first performed in 411 BCE, is an Old Comedy about a fictional sex strike by the women of Greece designed to stop the Peloponnesian War. At a dark moment, when defeat appeared to be looming for Athens, the play provided a fantasy of peace. In recent decades it has been the most often rev ...
... Lysistrata, first performed in 411 BCE, is an Old Comedy about a fictional sex strike by the women of Greece designed to stop the Peloponnesian War. At a dark moment, when defeat appeared to be looming for Athens, the play provided a fantasy of peace. In recent decades it has been the most often rev ...
Greek Theatre Performance
... to read plays in accordance with their sole original purpose: to make sense in performance. There has not been any avalanche of new discoveries, new hard information. The ancient world has not changed . . . How could it? Yet we have changed. Our assumptions are different, and our questions are diffe ...
... to read plays in accordance with their sole original purpose: to make sense in performance. There has not been any avalanche of new discoveries, new hard information. The ancient world has not changed . . . How could it? Yet we have changed. Our assumptions are different, and our questions are diffe ...
Further reading
... within classical studies; it is shared, for example, by the contributors to the Cambridge Companion to Greek Tragedy. (4) I do not believe that Greece was the cradle of my civilization because I inhabit an increasingly globalized culture. In many ways Greek civilization seems to me much closer to In ...
... within classical studies; it is shared, for example, by the contributors to the Cambridge Companion to Greek Tragedy. (4) I do not believe that Greece was the cradle of my civilization because I inhabit an increasingly globalized culture. In many ways Greek civilization seems to me much closer to In ...
It was Xenaki`s instrumental music that established him
... the intellect’ that contradicts Aristotle’s words, ‘there is nothing in the intellect that has not been sense experience’ [1:72]. The composer states that ‘The ancient drama cannot possibly be expressed with tonal or atonal music like serialism. This kind of music is typical of another epoch.’ The u ...
... the intellect’ that contradicts Aristotle’s words, ‘there is nothing in the intellect that has not been sense experience’ [1:72]. The composer states that ‘The ancient drama cannot possibly be expressed with tonal or atonal music like serialism. This kind of music is typical of another epoch.’ The u ...
Learn More
... The experience of watching a play in the theatre in ancient Greece was very different from watching a play in a theatre today. Today you can go to the theatre almost any night of the week. In ancient Athens, plays were only performed during late winter and early spring. This may have been because of ...
... The experience of watching a play in the theatre in ancient Greece was very different from watching a play in a theatre today. Today you can go to the theatre almost any night of the week. In ancient Athens, plays were only performed during late winter and early spring. This may have been because of ...
- Nottingham ePrints
... and all the poets, whose plays survive intact, were Athenian. However, tragedy had become astonishingly popular outside Athens by at least the Hellenistic period, with performances taking place at an increasing number of international festivals held across the Mediterranean. When did tragedy begin t ...
... and all the poets, whose plays survive intact, were Athenian. However, tragedy had become astonishingly popular outside Athens by at least the Hellenistic period, with performances taking place at an increasing number of international festivals held across the Mediterranean. When did tragedy begin t ...
AS and A-level English Literature B The Great Gatsby Aspects
... lives of George, Myrtle and Gatsby. When Fitzgerald introduces Tom to the narrative he is described as ‘supercilious’, ‘arrogant’, ‘cruel’, ‘aggressive’ and ‘hard’. This list of adjectives focuses on the power that both his money and his status afford him and when Gatsby’s dream is “broken up like g ...
... lives of George, Myrtle and Gatsby. When Fitzgerald introduces Tom to the narrative he is described as ‘supercilious’, ‘arrogant’, ‘cruel’, ‘aggressive’ and ‘hard’. This list of adjectives focuses on the power that both his money and his status afford him and when Gatsby’s dream is “broken up like g ...
Poetic Drama /Verse Drama of Modern age Poetic Drama Eliot`s
... They include Murder in the Cathedral (1935), dealing with the final hours of Thomas à Becket; The Family Reunion (1939); The Cocktail Party (1950); The Confidential Clerk (1954); and The Elder Statesman (1959)..(1) Indeed, Eliot hoped that the study and critical reception of early modern verse drama ...
... They include Murder in the Cathedral (1935), dealing with the final hours of Thomas à Becket; The Family Reunion (1939); The Cocktail Party (1950); The Confidential Clerk (1954); and The Elder Statesman (1959)..(1) Indeed, Eliot hoped that the study and critical reception of early modern verse drama ...
Chapter 9. Edith Hall Aeschylus` Persians via the Ottoman Empire to
... plays were revived.16 In Frogs, however, Aristophanes may have been the first to refract the famously patriotic text of Persians through an ironic prism in order to criticize the recent Athenian maladministration of the Peloponnesian war. There are some signs that he is using the status of Salamis a ...
... plays were revived.16 In Frogs, however, Aristophanes may have been the first to refract the famously patriotic text of Persians through an ironic prism in order to criticize the recent Athenian maladministration of the Peloponnesian war. There are some signs that he is using the status of Salamis a ...
Dramatic Literature
... this imaginative release can be put. But the student of drama must know the rules with which the players began the game before he can make this kind of judgment. These rules may be conventions of writing, acting, or audience expectation. Only when all conventions are working together smoothly in syn ...
... this imaginative release can be put. But the student of drama must know the rules with which the players began the game before he can make this kind of judgment. These rules may be conventions of writing, acting, or audience expectation. Only when all conventions are working together smoothly in syn ...
The Tragedy of Julius Caesar
... poet generally, especially one who wrote impassioned, lyrical, or epic verse. Bards were originally Celtic composers of eulogy and satire; the word came to mean more generally a tribal poet-singer gifted in composing and reciting verses on heroes and their deeds. ...
... poet generally, especially one who wrote impassioned, lyrical, or epic verse. Bards were originally Celtic composers of eulogy and satire; the word came to mean more generally a tribal poet-singer gifted in composing and reciting verses on heroes and their deeds. ...
chapter 7 conculsion
... death. Like other revenge tragedies, the actions of this play are not at all motivated by revenge intrigue. Since in a revenge tragedy the avenger is always a 'male' character, the main female character is subsided by that character. Most of the time the heroine of a revenge tragedy is a flat charac ...
... death. Like other revenge tragedies, the actions of this play are not at all motivated by revenge intrigue. Since in a revenge tragedy the avenger is always a 'male' character, the main female character is subsided by that character. Most of the time the heroine of a revenge tragedy is a flat charac ...
Gillian Woods Hamlet: The Play within the Play Hamlet – both the
... Instead, the murder we do witness – right in the middle of the action – is showily theatrical. The play-within-a-play structure keeps us at a frustrating distance from the definite truth of things. It is also of a piece with the mirroring nature of the tragedy, a drama in which experiences are const ...
... Instead, the murder we do witness – right in the middle of the action – is showily theatrical. The play-within-a-play structure keeps us at a frustrating distance from the definite truth of things. It is also of a piece with the mirroring nature of the tragedy, a drama in which experiences are const ...
Tragedy
Tragedy (from the Greek: τραγῳδία, tragōidia) is a form of drama based on human suffering that invokes in its audience an accompanying catharsis or pleasure in the viewing. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—""the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity,"" as Raymond Williams puts it.From its origins in the theatre of ancient Greece 2500 years ago, from which there survives only a fraction of the work of Aeschylus, Sophocles and Euripides, through its singular articulations in the works of Shakespeare, Lope de Vega, Racine, and Schiller, to the more recent naturalistic tragedy of Strindberg, Beckett's modernist meditations on death, loss and suffering, Müller's postmodernist reworkings of the tragic canon, and Joshua Oppenheimer's incorporation of tragic pathos in his nonfiction film, The Act of Killing, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan, and Deleuze—have analysed, speculated upon, and criticised the tragic form.In the wake of Aristotle's Poetics (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general (where the tragic divides against epic and lyric) or at the scale of the drama (where tragedy is opposed to comedy). In the modern era, tragedy has also been defined against drama, melodrama, the tragicomic, and epic theatre. Drama, in the narrow sense, cuts across the traditional division between comedy and tragedy in an anti- or a-generic deterritorialization from the mid-19th century onwards. Both Bertolt Brecht and Augusto Boal define their epic theatre projects (non-Aristotelian drama and Theatre of the Oppressed respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation.