Here - University of Hertfordshire
... three different versions of Hamlet. Hamlet in Kuwait, a version of Shakespeare’s text performed in English, was initiated in January 2001, in association with a cultural festival ‘Kuwait 2001: Cultural Capital of the Arab World’, a historic celebration of national independence and autonomy which mar ...
... three different versions of Hamlet. Hamlet in Kuwait, a version of Shakespeare’s text performed in English, was initiated in January 2001, in association with a cultural festival ‘Kuwait 2001: Cultural Capital of the Arab World’, a historic celebration of national independence and autonomy which mar ...
Metatheatre in Aeschylus` Oresteia
... Aeschylus’ play. The audience was essentially ‘seeing double’—they were exposed simultaneously to Homer’s version and to Aeschylus’ version. Here, in opposition to their expectations from Homer, was an Aegisthus who had no role until the last scene and a Clytemnestra who, in man-like characteristics ...
... Aeschylus’ play. The audience was essentially ‘seeing double’—they were exposed simultaneously to Homer’s version and to Aeschylus’ version. Here, in opposition to their expectations from Homer, was an Aegisthus who had no role until the last scene and a Clytemnestra who, in man-like characteristics ...
Metatheatre in Aeschylus` Oresteia
... Aeschylus’ play. The audience was essentially ‘seeing double’—they were exposed simultaneously to Homer’s version and to Aeschylus’ version. Here, in opposition to their expectations from Homer, was an Aegisthus who had no role until the last scene and a Clytemnestra who, in man-like characteristics ...
... Aeschylus’ play. The audience was essentially ‘seeing double’—they were exposed simultaneously to Homer’s version and to Aeschylus’ version. Here, in opposition to their expectations from Homer, was an Aegisthus who had no role until the last scene and a Clytemnestra who, in man-like characteristics ...
![[edit]Middle-Eastern theatre](http://s1.studyres.com/store/data/002176889_1-27a9f601a42e88c55fb199059ff5eb61-300x300.png)
[edit]Middle-Eastern theatre
... No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Quintus Ennius,Marcus Pacuvius and Lucius Accius.[28] From the time of the empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosoph ...
... No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Quintus Ennius,Marcus Pacuvius and Lucius Accius.[28] From the time of the empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosoph ...
Sophocles Antigone activity
... with a fourth play, a kind of burlesque called a Satyr play, attached. The trilogies did not necessarily tell three connected stories, though they were probably at least thematically linked. Sophocles wrote his plays within an understood set of literary conventions and constraints, but also changed ...
... with a fourth play, a kind of burlesque called a Satyr play, attached. The trilogies did not necessarily tell three connected stories, though they were probably at least thematically linked. Sophocles wrote his plays within an understood set of literary conventions and constraints, but also changed ...
William Shakespeare 1564 – 1616
... the greatest writer in the English language and the world's prominent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been tran ...
... the greatest writer in the English language and the world's prominent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been tran ...
Shakespeare_Theatre_Rome_Dead
... black garments sprinkled with blood and flames, their bodies girt with snakes, their heads spread with serpents instead of hair, the one bearing in her hand a snake, the other a whip, and the third a burning firebrand, each driving before them a king and a queen which, moved by Furies, unnaturally h ...
... black garments sprinkled with blood and flames, their bodies girt with snakes, their heads spread with serpents instead of hair, the one bearing in her hand a snake, the other a whip, and the third a burning firebrand, each driving before them a king and a queen which, moved by Furies, unnaturally h ...
agamemnon - St. Thomas University
... audience could sit or stand and view the play. There was a later gradual evolution towards more elaborate theatre structures, but the basic layout stayed the same. ...
... audience could sit or stand and view the play. There was a later gradual evolution towards more elaborate theatre structures, but the basic layout stayed the same. ...
ENG 112 - UI DLC - University of Ibadan
... The practice of literary criticism dates back to the time of Plato and Aristotle. Plato’s The Republic and Aristotle’s Poetics are both prescriptive. In the classical times also, Aristophanes, a classical playwright in his comedy, introduced a “novel” dimension to the business of textual analytical ...
... The practice of literary criticism dates back to the time of Plato and Aristotle. Plato’s The Republic and Aristotle’s Poetics are both prescriptive. In the classical times also, Aristophanes, a classical playwright in his comedy, introduced a “novel” dimension to the business of textual analytical ...
Introduction to Shakespeare`s Romeo and Juliet Shakespeare`s
... English poetry and drama, including Shakespeare’s work, can be analyzed according to the meter, or beat, of words and lines. The repetition of the meter forms a rhythmical pattern. Four common metric feet are: o iamb—two syllables, unstressed followed by stressed; ex: “destroy” o trochee—two syllabl ...
... English poetry and drama, including Shakespeare’s work, can be analyzed according to the meter, or beat, of words and lines. The repetition of the meter forms a rhythmical pattern. Four common metric feet are: o iamb—two syllables, unstressed followed by stressed; ex: “destroy” o trochee—two syllabl ...
The Structure of King Lear - A2EnglishLearningCommunity2010
... is the culmination-the necessary spur to action-of motive. In a proper tragedy, not a melodrama, once the decision is taken, the embodying action follows as the night the day and will prove to be the physical implementation of the decision. The embodying action has a special importance, since it sea ...
... is the culmination-the necessary spur to action-of motive. In a proper tragedy, not a melodrama, once the decision is taken, the embodying action follows as the night the day and will prove to be the physical implementation of the decision. The embodying action has a special importance, since it sea ...
PDF
... emerges as a metatheater out of the tragic theatre. This tragic theatre, in turn, suggests a theatre already in existence – the theatre of comedy. Miranda’s statement “If by your Art, my dearest father, you have/ Put the wild waters in this roar, allay them” (I.1.1-2) is significant. The seeming tra ...
... emerges as a metatheater out of the tragic theatre. This tragic theatre, in turn, suggests a theatre already in existence – the theatre of comedy. Miranda’s statement “If by your Art, my dearest father, you have/ Put the wild waters in this roar, allay them” (I.1.1-2) is significant. The seeming tra ...
TITUS ANDRONICUS. By William Shakespeare. Royal
... a few highly anachronistic properties and generic costumes of cheesecloth, she successfully disconnects the play from any obvious allegiance to an historical setting, allowing the play's core of random and meaningless butchery to serve as a temporal metaphor for the violence of our own time. Warner, ...
... a few highly anachronistic properties and generic costumes of cheesecloth, she successfully disconnects the play from any obvious allegiance to an historical setting, allowing the play's core of random and meaningless butchery to serve as a temporal metaphor for the violence of our own time. Warner, ...
sample
... seeing this (by then dead) tragedian (Philemon fr. 118).2 Aristotle’s formalist discussion of tragedy complains about Euripides’ use of the deus ex machina, his unintegrated choruses, and the ‘unnecessary’ villainy of some of his characters. Yet even Aristotle conceded that Euripides was ‘the most t ...
... seeing this (by then dead) tragedian (Philemon fr. 118).2 Aristotle’s formalist discussion of tragedy complains about Euripides’ use of the deus ex machina, his unintegrated choruses, and the ‘unnecessary’ villainy of some of his characters. Yet even Aristotle conceded that Euripides was ‘the most t ...
Ancient reperformances of Sophocles. Trends in Classics, 7 (2).
... survived to be catalogued at Alexandria in the third century; the most likely figure for the number of his plays known to Hellenistic scholars is 123.2 He almost certainly wrote more: it would be remarkable if not a single play from his evidently enormous output was lost between Athens and Alexandri ...
... survived to be catalogued at Alexandria in the third century; the most likely figure for the number of his plays known to Hellenistic scholars is 123.2 He almost certainly wrote more: it would be remarkable if not a single play from his evidently enormous output was lost between Athens and Alexandri ...
Document
... There is a possibility of feminist psychoanalitic interpretation of Shakespeare′s works and in it we see that they depict violence. In Shakespere′s tragedies there is a shared fiction on the part of the heroes about femininity and about their own vulnerability in relation to women fictions interwove ...
... There is a possibility of feminist psychoanalitic interpretation of Shakespeare′s works and in it we see that they depict violence. In Shakespere′s tragedies there is a shared fiction on the part of the heroes about femininity and about their own vulnerability in relation to women fictions interwove ...
literaturenow.files.wordpress.com
... time plays were performed in the courtyard of inns, or sometimes, in the houses of noblemen. After the Theatre, further open air playhouses opened in the London area, including the Rose (1587), and the Hope (1613). The most famous playhouse was the Globe (1599) built by the company in which Shakespe ...
... time plays were performed in the courtyard of inns, or sometimes, in the houses of noblemen. After the Theatre, further open air playhouses opened in the London area, including the Rose (1587), and the Hope (1613). The most famous playhouse was the Globe (1599) built by the company in which Shakespe ...
Second semester Drama (1) Fourth Year Modern Drama: major
... almost half of his life in England and then emigrated to the U.S. and stayed there; produced plays and directed them. He had a wellknown play entitled The Octoroon (1859), combining an examination of American tensions with melodramatic intrigue in views on modern technology. Boucicault wrote on almo ...
... almost half of his life in England and then emigrated to the U.S. and stayed there; produced plays and directed them. He had a wellknown play entitled The Octoroon (1859), combining an examination of American tensions with melodramatic intrigue in views on modern technology. Boucicault wrote on almo ...
Greek Drama at the end of the Twentieth century
... concentrates on crude equivalences between ancient and modern or which beats an ideological drum. I do not know whether there are plans to stage Paul Muldoon’s recent version.4 If so it will be worth seeing for the very reason that Muldoon’s script self-reflexively plays with and subverts attempts t ...
... concentrates on crude equivalences between ancient and modern or which beats an ideological drum. I do not know whether there are plans to stage Paul Muldoon’s recent version.4 If so it will be worth seeing for the very reason that Muldoon’s script self-reflexively plays with and subverts attempts t ...
SophocleS - Adel HAkim - Théâtre des Quartiers d`Ivry
... Hakim; the show is to be performed entirely in Arabic by Palestinian actors. This flying visit will immerse us, without a transition of any kind, into a universe with an atmosphere all of its own; within this small group come over from Paris, made up of theatre practitioners, directors, programmers, ...
... Hakim; the show is to be performed entirely in Arabic by Palestinian actors. This flying visit will immerse us, without a transition of any kind, into a universe with an atmosphere all of its own; within this small group come over from Paris, made up of theatre practitioners, directors, programmers, ...
Akroterion 48 (2003) 3-20 THE RECEPTION OF GREEK TRAGEDY
... welcomed this addition to Afrikaans dramatic literature. According to Louw the ancient Greek world was so far removed from ours and the religion and cultural associations so alien that it was fruitless for a modern director to attempt to recreate a Greek production. The director should rather concen ...
... welcomed this addition to Afrikaans dramatic literature. According to Louw the ancient Greek world was so far removed from ours and the religion and cultural associations so alien that it was fruitless for a modern director to attempt to recreate a Greek production. The director should rather concen ...
Word doc - The Open University
... reviews, 7 it was never adopted by the director himself to describe his stagings of tragedy. Marmarinos has made clear that his Electra was not meant to be ‘modern’ or ‘postmodern’,8 while he also explained that he did not intend to ‘modernise’ the tragic text, but to present it as a piece of ‘conte ...
... reviews, 7 it was never adopted by the director himself to describe his stagings of tragedy. Marmarinos has made clear that his Electra was not meant to be ‘modern’ or ‘postmodern’,8 while he also explained that he did not intend to ‘modernise’ the tragic text, but to present it as a piece of ‘conte ...
The Theatrical Review as a Primary Source for the Modern
... Bosnian context which 'cheapens both the tragedy of Sarajevo and the chorus' theatrical meaning'. She also criticised the steady drip of water, turning to blood as revenge is enacted, dismissing it as stage dressing which misses the theatrical point and 'does not invoke the interior private world of ...
... Bosnian context which 'cheapens both the tragedy of Sarajevo and the chorus' theatrical meaning'. She also criticised the steady drip of water, turning to blood as revenge is enacted, dismissing it as stage dressing which misses the theatrical point and 'does not invoke the interior private world of ...
Quick Overview of Western Theatre History
... intact throughout Europe and North Africa, we can reconstruct the Roman structures more authoritatively than we can the Greek ones. Romans also introduced many devices that continue in modern usage such as stage traps (openings in the stage floor for ascents and descents) and vomitories (stadium-li ...
... intact throughout Europe and North Africa, we can reconstruct the Roman structures more authoritatively than we can the Greek ones. Romans also introduced many devices that continue in modern usage such as stage traps (openings in the stage floor for ascents and descents) and vomitories (stadium-li ...
Sample Chapter 1 - McGraw Hill Higher Education
... age. Such a time was the fifth century B.C.E. in Athens, Greece, when there were outstanding achievements in politics, philosophy, science, and the arts. As a part of this culture, western theatre was born. A number of events had prepared the way. Long before 500 B.C.E., impressive civilizations had ...
... age. Such a time was the fifth century B.C.E. in Athens, Greece, when there were outstanding achievements in politics, philosophy, science, and the arts. As a part of this culture, western theatre was born. A number of events had prepared the way. Long before 500 B.C.E., impressive civilizations had ...
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.