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One of the most enduring products of the Renaissance theatre was the opera. It grew out of experiments by the Camerata, a Florentine society of poets and musicians that at the end of the 16th century sought to revive Greek tragedy. The men who formed the Camerata believed that the Greeks had originally recited or chanted their plays to music, and in setting out to recreate these conditions, the Camerata used music to heighten the poetic qualities of the dialogue. Heavily influenced by the intermezzi that were currently in fashion, the first attempts were on mythological subjects (Daphne, Orpheus, etc.). The opera was an immediate success. The novelty impact of the music meant that the libretto diminished in importance. By 1607 Claudio Monteverdi had composed his masterpiece, Orfeo, which placed the emphasis squarely on music and established the basic form that European opera was to take for the next 300 years. At first, opera was performed on special occasions intended to display the patron’s status and wealth; thus it was politically important. Great care was lavished on the visual aspects of the opera, and the librettos gave ample opportunities for scene painters and stage engineers to exploit their new mastery of perspective. As the scenery became more opulent, so the shape of the theatre was altered to accommodate it. The proscenium arch was developed to frame the setting and facilitate changes of scenery, while the auditorium was extended to a horseshoe shape. The earliest example of this type of theatre was the Teatro Farnese in Parma (1618–28), the prototype of the modern opera house. From its exclusive beginnings, the appeal of opera broadened, and in 1637 the first opera house was opened to the general public in Venice. By this time, the form had also caught on in Vienna. Commedia dell’arte Around the mid-16th century, there emerged in Italy a lively tradition of popular theatre that fused many disparate elements into a vigorous style, which profoundly influenced the development of European theatre. This was the legendary commedia dell’arte (“theatre of the professionals”), a nonliterary tradition that centred on the actor, as distinguished from the commedia erudita, where the writer was preeminent. Although the precise origins of the commedia dell’arte are difficult to establish, its many similarities with the skills of the medieval jongleurs, who were themselves descendants of the Roman mimes, suggest that it may have been a reawakening of the fabula Atellana, stimulated and coloured by social conditions in Italy during the Renaissance. commedia dell'arte troupe commedia dell'arte troupe In spite of its outwardly anarchic spirit, the commedia dell’arte was a highly disciplined art requiring both virtuosity and a strong sense of ensemble playing. Its special quality came from improvisation. Working from a scenario that outlined the plot, the actors would improvise their own dialogue, striving for a balance of words and actions. Acrob
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inten.pptx
1.
INT ENT ION AL INJ UR IES (ROYGBIV)
2.
3.
INT ENT ION AL INJ UR IES
4.
5.
6.
7.
8.
Self- inflicted ASSAULT
9.
Self- inflicted ASSAULT person who harms herself or
himself on purpose. person/persons who harm another on purpose.
10.
Self- inflicted SUICIDE PARASUICIDE
11.
Self- inflicted SUICIDE PARASUICIDE is the intentional
taking of one’s own life. a suicide attempt in which a person does not intend to die.
12.
a) Those that
were committed within the family ASSAULT
13.
Domestic violence
14.
ASSAULT b) Those that
were committed by peers
15.
bullying s t a l k i n g extortion
16.
c) Those that
were committed by other groups ASSAULT
17.
gang & youth violence illegal fraternity kidnapping terrorism
18.
ASSAULT d) Those that
were committed by family, peers and other groups
19.
verbal abuse sexual
abuse
20.
pick a certain
intentional injury and create a simple act, and other groups will guess it.
21.
22.
23.
24.
“SELF-INFLICTED OR ASSAULT” 1. Assault 2.
Self-inflIcted 3. Assault 4. Self-inflIcted 5. Assault 6. Assault 7. Self-inflIcted 8. Self-inflIcted 9. Assault 10. Assault
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