Elizabethan Stage Combat

Elizabethan Stage Combat
Stage combat played a huge role in the Shakespearean theatre; it influenced how the audience looked at a conflict, a character and an overall
performance.
Since the beginning of the theatre in Ancient Greek times, people have always enjoyed going to theaters to watch plays and operatic productions for
entertainment purposes. To make these theatrical productions more amusing and compelling for the audience, actors tried different techniques to
produce realistic plays with believable acts of violence. On stage, they would fight with words up to a certain point before physically expressing their
anger. They expressed their frustration with the use of stage combat. Stage combat is a specialized technique intheatre designed to create the illusion ...
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Shakespearean theatrical stage combat has its roots in medieval theatre. The theatrical productions would be going on calmly until a fight moment, and
after that, the play would stop, the fight scene would be performed, and then the play would continue. This interrupted the narrative and, consequently,
it shocked the audience and grabbed their attention. Most of the battles in plays took place off–stage. The sounds of the main fray issued from the
tiring house and the stage itself were used to depict incidents in the battle, and characters would be either resting or retreating from battle or awaiting
word of the outcome. As characters entered, they showed in their manners, make–up, and costumes, the effects and transitions in the fighting. Battles
were ordinarily preceded by a certain amount of spectacle. Armies marched on and off the stage like real soldiers, carrying military equipment, and
engaged in mock military maneuvers. The illusion of blood in plays was created with handkerchiefs soaked in animal blood to indicate a mortal
wound. Sometimes actors would fill a sheep or ox's bladder with blood or vinegar and hide it underneath their armpit so that they could squeeze it at
the appropriate time to stimulate a wound. Stage combat was especially important in Romeo and Juliet. In fact, Shakespeare wrote more on–stage
violence into this play than any of his other
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Lighting And Sound To Enhance Production
research the development of lighting and sound from the earliest explorations and uses to the present day. Explain how sound and lights have been
used to enhance productions.
Lighting and sound has been in productions since the beginning of theatre, although it was much easier to do sound compared to light. They are both
very important things that need to be used in plays, musicals and productions in theatre, because they create many different effects, moods and
different types of atmospheres for different types of stories. To this day there is thousands of productions with very, very technical ways of using
sound and light. there are way too many to write into words, but for example, a sound effect for a punch or smashing of glass, sad music in the
background creating a sad mood, spotlights on a person, dim lighting to create a creepy atmosphere and so on. there are thousands of ways to create
effects today in plays and musicals, however, when plays, musicals, sound and ... Show more content on Helpwriting.net ...
Even in the 1700's and mainly began in ancient japan, they used sound for theatrical purposes. There were also many plays in medieval times that
used many different types of sound effects, and music to enhance their performances, the mood and also the atmosphere of their performances.
During the 1980's and 1990's was when digital audio technology had been close to invented and made it easier to create different types of effects in
plays and productions. these new effects started up in Walt Disney World, where they used the sounds and effects for shows there.Also, the World
Wide Web has greatly enhanced the ability of sound designers to acquire source material quickly, easily and cheaply. Nowadays, a designer can
preview and download crisper, more "believable" sounds as opposed to toiling through time– and budget–draining "shot–in–the–dark" searches through
record stores, libraries and "the grapevine" for (often) inferior

Satire In Humorous Acting
Rebecca is having a long day at the office. All she wants to do is go home and watch the latest episode of The Big Bang Theory. Then she can relax,
forget the stress of work, and laugh. Sitcoms and other forms of humorous acting give people something to look forward to. It has provided an escape
venue for millenniums. Humorous acting is a fun pastime for both the actors and the audience, with a lot more to it than meets the eye. The definition of
theatre is a form of art that is supposed to be entertaining and appealing for the actors and audience. Comedy has been practiced in a recorded way
since somewhere between 800 and 600 B.C. (Cassady). The Ancient Greeks started one of the first organized forms of it. This was the first form ...
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They are all vague and can be mixed around or put into the same show or play. Most comedies have more than one of these tenets. The first tenet is
farce. Farce puts characters in an absurd situation that then makes the play funny. Most farce stems from Shakespeare, and it is the best documented
comedy form. Irony is a verbal tenet. When a play is ironic, sarcastic comments and retorts or common, and the opposite of what is true is believed to
be true. Irony often gets bad reviews and is considered satire. Satire is a cross between irony and parody. It is defined as imitation with the intention of
wounding or correcting someone. It's the harshest type. Parody is similar to satire but the intentions are not as severe. Parody is the most famous tenet.
Pastiche is subtler but also similar to parody. The purpose of the imitation is often to flatter. Pastiche is relatively benign, and lots of humorous musicals
incorporate it. Surrealism is when the actor presents a situation that isn't relevant to the perceived plot and is therefore entertaining. Slapstick involves
characters doing physically funny things like falling down or hurting themselves in general. Slapstick is the most visual tenet of comedy. The lines of
the seven basic tenets blur together and are just

Physical Theatre Performance Analysation
"Audiences today want a real experience in their live performance, because they can get great script based entertainment at home, through various new
media sources. Traditional theatre, which appeals on a mental, and hopefully also emotional level, has not been enough to compete with other media,
and audiences have been declining. Physical theatre, by contrast appeals to the audience on a physical and emotional level, providing a much more
immediate experience than traditional theatre" ~ (Artmedia Publishing in Zen Zen Zo's "The Tempest" Teacher's Notes)
"...Then you realise that theatre is a more personal experience." (Stephen Atkins, Dante's Inferno Director) After viewing Zen Zen Zo's physical theatre
reincarnation of the ... Show more content on Helpwriting.net ...
The audience then became lost and frightened as there were no signs leading them to their next destination, once again forcing them to partake in the
performance. This physicalisation not only successfully involved the contemporary audience, but demonstrated the necessity of physical composition
to give audiences that real experience. This use of physical composition provided immediate reaction and emotional expression through action and
contrast. These elements ultimately enhanced the mood and symbolism of the performance, allowing audiences to not only partake in the production
on an intimate level but also on an emotional level. Another way in which mood and symbol can be created is through the use of complicitГ©.
Another element used to enhance the physical theatre experience is complicitГ©. This dramatic language refers to the use of an ensemble. In Dante's
Inferno the benefit of an ensemble is demonstrated throughout the whole course of the production as it provided bigger representations and enhanced
the powerful concepts. In particular, the "violent" circle representing murder, death and the element of fire, excelled in the utilisation of an ensemble.
The audience were guided into a large hall where approximately thirty ensemble members were positioned around the architecture. The ensemble
worked together, manipulating their bodies into unnatural, unsettling postures. Through precise

The Spectacle Theatre Costumes
There are several elements in a play that make it successful. These elements consist of the writer's plot, theme, characters, dialogue, music and the
"Spectacle". The Spectacle refers to the visual elements that make up a play: sets, costumes and special effects. Although costumes are only one small
component in a play, I believe they are very imperative for the overall feel of the audience. The costumes worn by the performers portray the
personality of the character along with the period of time of the play. According to a Canadian designer, Judith Bowden, "The main job of costume
design in a production is to provide physical and emotional support to every actor through the clothing he or she will wear to enhance characterization"
("The costumes designers role"). There is an extensive history of Costume design in Theater, an each century has importance.
Theatre design has believed to be created from the ancient Greeks. There costumes varied because of how they grew up living in a ritualized style of
theatre. Their costumes consisted of face masks, face painting's, and even full body paintings. They wore these design's to ... Show more content on
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The clothing will accurately reflect the clothing of the appropriate time in history. Costumes are created for movement. Allowing actors to raise their
arms without moving the entire costume or being able to kick without ripping a seam. The costumes are constructed to be strong enough to endure the
enormous amount of performances for months or even a year. Costumes today are made from natural fibers like cotton, linen, silk and wool. Styles of
costumes design will continue to go in and out, however, the principle behind costumes remains endless. As Robert Edmond Jones wrote in 1941, " A
stage costume is a creation of the theater. Its quality is purely theatrical and taken outside the theater it loses its magic at once. It dies as a plant dies
when uprooted"

Everyman
The Parable of the Talents therefore refers to the metaphor "life is a precious possession." If you have many talents, you must "invest" them
wisely––use them as you should use material goods, in a charitable way. If you have a few talents, you must invest them wisely as well. Even if you
have only one talent, you must invest it wisely and do good in the world with that talent. In an important way, the play Everyman
demonstrates the ways in which a person who does have talents (Good Deeds that are trapped in the ground) wastes them, like the servant who buries
his one talent in the ground and is cast into the dark, the "place of wailing and grinding of teeth." According to the play's allegory, what forces in
everyday human life... Show more content on Helpwriting.net ...
All in good faith, fellowship said goodbye and apologized to Everyman as he leaves. Scene 3: After Everyman's first
rejection, he stoops low enough to ask Kindred and his cousin to go with him. At first his cousin says "yea , Everyman and to us declare If ye be
disposed to go any whither; For, wit you well, we will live and die together." Later in the scene Cousin and Kindred change their minds and reject
Everyman. The say that Everyman is committing a selfish act by asking them to go with him. Everyman is still alone. Scene 4: Goods. Everyman wants Goods to go with him to the afterlife. Goods does not go because materials are not what make a person. The idea of
heaven or hell is to see what kind of a person that you were in your life. Goods to do not decide what sort of a person someone is. Goods does not care
about going with Everyman because goods can just be passed on to someone else. Goods is rejected to accompany Everyman. Scene
5: Everyman asks good Deeds to go with him to the afterlife. Good Deeds refuses because Everyman has not done very many good deeds
in his life. Good Deeds, hence the name, does a good deed and leads Everyman to Confession. Scene 6: Everyman meets up
with Knowledge, Good Deed's cousin. Knowledge accompanies Everyman to Confession where he is joined by Five Wits, Beauty, Strength, and
Discretion. Everyman confesses all of his bad deeds

How Did The Theater Influence Roman Theatre
The romans loved every type of entertainment, they loved sports, chariot races, gladiator battles, and the live theatre. They normally had plays for
religious ceremonies, and they had over 200 religious days meaning they had a lot of plays in the live theatre.
The theaters would either be outdoors made out of wood, or indoors made out of stone.
The Roman theaters were based off of the theatre of Pompey which was the first permanent Roman theatre. The characteristics of Roman to those of the
earlier Greek theaters due in large part to its influence on the Roman triumvir Gnaeus Pompeius
Magnus. The influence of the Roman theatre was based off of the Greek buildings and nothing was different in the buildings. They did have differences
like the theaters were ... Show more content on Helpwriting.net ...
Roman theaters were literally built everywhere, they were built on hills, flat plains, and they would lift the entire structure off the ground. The Theaters
were so integrated that the entrances were usually built like caves, like todays theaters. The theatre was usually built so high that the audiences could
not look beyond the stage, and
It also created more of an enclosed atmosphere and may have helped keep out the noises of the city. Most theaters still standing date back to the
Hellenistic period which dates from 4th century B.C or Later. In order to give shade to the theatre a tarp could be rigged to shade the theatre and the
stage. During 65 A.D Pompeii's theatre underwent changes from looking like the Hellenistic age to more of the Greco–Roman style. Roman theaters
were built in all areas of the empire from medieval–day Spain, to the Middle East.
Because of the Romans' ability to influence local architecture, we see numerous theaters around the world with uniquely Roman attributes. The
structure of Roman theaters were very similar to that of the Italian
Amphitheater, and were built out of the same material Roman Concrete, and they

Chorus In Oedipus The King
Dihle argues,
Sophocles rarely had his chorus intervene in the action, but it continued to have a close emotional bond with it in terms of its observations, advice and
admonitions. The chorus rarely appeals to the audience, using words coming directly from the intentions of the poet. Nevertheless, however topical
they may have seemed to his audiences, statements of this kind, such as the glorious tribute to Attica in Oedipus Coloneus, or the admonition against
flouting divine law in Oedipus Rex, never lacked adequate motivation in terms of the actions. (114)
Sophocles made the actors the center of the plays instead of the chorus. The chorus became used more for advice and the observations they made as the
stage manager. Sophocles chorus type doesn't narrate the plays as much as before in Aeschylus's play. The chorus stage manager type began turning
into a stage manager that mostly made comments throughout the play.
One of Sophocles' main plays where the stage manager is demonstrated is Oedipus the King. In Sophocles play Oedipus Rex also known as Oedipus
the King, the chorus type is used extensively as it was in Aeschylus's play. Sophocles wrote Oedipus the King in 429 B.C. for the gods to be
performed during a religious festival. However, most Greeks already know the play in some way, because like Sigmound Freud was known to say
every boy has a latent desire to kill his father and sleep with his mother. In Oedipus the King, the chorus mentions the gods,
Great welcome

A Midsummer Night's Dream Research Paper
Brelby Theatre Company's A Midsummer Night's Dream really brought magic to life. The story of A Midsummer's Night's Dream follows the lives of
Hermia, Helena, Demetrius, Lysander as they sort out their romantic lives. Meanwhile, Titania and Oberon, the King and Queen of fairies fight over a
young boy. Their servant,Puck, helps everyone figure out what they want. Also, a theatre group prepares a show to perform for the wedding of
Hippolyta and Theseus. Regardless of A Midsummer Night's Dream poor use of costuming, the production remained enjoyable due to the strong
lighting and Set. All of the costumes used in A Midsummer Night's Dream were a weak part of the play. All of the costumes worn in A Midsummer
Night's Dream were clothing of different time periods, which made the setting hard to understand. When the King and Queen, Hippolyta and Theseus
wore sophisticated medieval clothing while Helena, Hermia, Lysander and Demetrius wore present day casual attire, it created confusion on what time
period the story was taking place in. Also, the costumes did a bad job on establishing who was who. For example, when Puck turned Nick Bottom into
a donkey, his clothing did not alter. In addition, when Hermia and Helena wore much more fancier and grander dresses than the queen, Hippolyta at the
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The lighting allowed the play to portray a magical theme. For example, in the show, whenever Puck would do magic, the lighting would change to
make the magic seem more real. To add, when the set was portraying where the fairies were, the lighting obtained a purple tone. The lighting in A
Midsummer Night's Dream made the play seem more romantic. An example of this is when Lysander and Hermia finally got together, the lighting
changed to pink. Also, when the wedding took place, the lighting had a warm tone. All in all, the lighting helped the show look more stunning and

How Has Medieval Theatre Changed Over Time Essay
One of the ways in which theater in Europe has changed between the medieval period has primarily during progressive times and no longer required
events of religious influence. For example, medieval plays took a secular approach and introduced French music from Adam de la Halle (Carlson
2014: 13). Throughout the time between the medieval period and the 20th century, changes in European theater varied from additions to performance
spaces to the actual content of the plays. During the 16th century, tragedy and comedy plays were kept separate but also incorporated ideas from both
genres into stories such as the works of William Shakespeare (Carlson 2014: 17). The 17th–century theater in Europe continued to be influenced by
French culture into the 18th century when the focus of plays was shifted to the French drame (Carlson 2014: 19–21). These early periods of theater
built the foundation for how theater would be interpreted and influenced in the times later to come. ... Show more content on Helpwriting.net ...
During the 19th century, theater adopted a realistic viewpoint by romanticism but also a rise in modern nationalism to give people a sense of
belonging in a community or culture (Carlson 2014: 21). In the 20th century, realism in theater was challenged and plays were now easier to attend
due to the improvements of communication and the ability to reach other areas of the world by travel (Carlson 2014: 23–24). Theater is another
addition to the world of art that is continuously evolving and adapting to the world and cultures influencing its

Diversity In Theatre
Diversity in Theatre
Theatre has evolved over the many years. As it has grown, it moved to include more diverse performers, crew, producers, and audiences. This is an
exploration of the expansion of diverse theatre.
Western Theatre as an artform began as religious rituals in ancient Greece. Formerly, only men could become actors, women being typically played by
men or boys. In Ancient Roman and Medieval theatre women were allowed occasionally, but not often. In the 17th Century opera became prevalent,
which began to include female singers. Behn was the first professional woman writer in English literature, best known for her plays and her novel
'Oroonoko'. Which led the way for female playwrights. Females began to slowly but surely make ... Show more content on Helpwriting.net ...
population were African American, and Immigrant population was 14.4% of the population. By 2011, 12% of the population was African American,
6% Asian American, and 16.7% Latino and Hispanic. As with everything, theatre matured to include these populations. In Dahomey in 1903 was "the
first full–length musical written and played by blacks to be performed at a major Broadway house."
Throughout the 20th and 21st centuries, many productions with prominently non–white casts have become widely popular, including Miss Saigon,
which won 7 Tony's in 1991, In the Heights which won the Tony for Best Musical in 2008, and Hairspray, which also received a movie adaption.
Although many of these musicals focus mainly on issues involving race, and are historically non–white. Recently, "color blind casting" has grown.
Defined by the Actors Equity Association as "nontraditional casting" and also known as "integrated casting," It is the practice of not considering an
actors race or nationality while casting. Rising in popularity due to the success of Hamilton, which casts actors of all races as white historic figures,
for example, mixed race actor Daveed Diggs as French military officer Marquis De Lafayette and founding father Thomas

Macbeth: Dark Show Set In The Medieval Period
Prior to entering the black box to watch Macbeth, I had anticipated a dark show set in the medieval period. To my surprise, the theatre had brighter and
more eccentric and brightly–colored lighting than I had expected. The pre–show music was as unexpected as the lighting. The set was full of different
colors, and not in any way medieval. For these reasons, I was able to conclude that this show would be visually unique when compared to the other
times I had seen the show, prior to it even starting. Once the show began, it was obvious that the portrayal of the characters was far from what I had
expected. With risquГ© costumes, dynamic lighting, dramatic acting, and powerful use of music and sound, the show highlighted Macbeth's
unrestrained ambition,... Show more content on Helpwriting.net ...
It seemed as though each of the actors were talking too fast to understand. Shakespearian english is hard enough to comprehend, but the constant
rushing of lines made it all the more difficult to understand. The speed at which they spoke made the story line difficult to follow. The actors also
lacked variety in their way of speaking, staying on one level throughout the entire show. For instance: the first Lady Macbeth seemed to be yelling all
of her lines rather than speaking softly during less dramatic moments. It seemed as though the actors were constantly at the same dramatic level, rather
than varying between tender moments, angry moments, sad moments, or happy moments. Creating more emotionally dynamic characters would have
taken the show to a whole new level. Although some of the acting choices were questionable, I enjoyed many of the actors performances. My favorite
acting moments were during each of the Macbeth death scenes. In these moments, the actors showed more emotional variation and kept the audience
engaged. Another great part was after one of the Macbeth's was killed off and she shocked the audience by coming back to life and breaking the
fourth wall by telling jokes. This broke the tension in the room and gave the audience a break from the otherwise emotionally draining show. Though
the actors could have improved the show by giving more emotional levels, the acting didn't distract from the overall theme of

Greek Theatre And Medieval Drama
Greek Theatre and Medieval Drama: Distant Siblings Greek theatre and medieval drama were both very popular artistic events in their own periods of
performance. However, from ancient Greece to the renaissance, time has set them apart in terms of methodology; their practitioners use a creative
process based off of different mindsets. Therefore, the significant time lapse between the two genres has had an evident impact on the way theatre was
perceived and presented. In comparing aspects such as religious motivations, conditions of violence and character development, the distinct theatrical
natures of Greek theatre and medieval drama will be made apparent. Though both genres of theatre are closely tied to religion, Greek theatre and
medieval drama have different religious motivations that impact the ways in which the theatrical event is utilized. In Greece, theatre was used to
entertain or please the Gods, more specifically the God Dionysus, during the most important of the four Athenian festivals: the Great Dionysia. The first
known Greek playwrights, such as Thespis and Euripides, were chosen to compete in the festival and submit three tragedies and one satyr play to be
performed in front of approximately 15,000 spectators. In classical Greece, theatre was the center of citizenship and society; religious ideologies
towards Dionysus were not only realized by performances, but strongly encouraged by the state. For example, if a citizen could not afford to attend the

Greek Theatre Research Paper
Along with tragedy, Greek comedy was also renowned form of theatre art of Ancient Greece. Leading playwright of the period was Aristophanes. His
works laid a sarcasm about philosophers and politicians of age. Mainly men were the professional actors, singers, and dancers of the time, and played
both human and non–human characters through costumes and extremely decorated face masks. Due to limited number of performers, each performer
was equipped with multiple roles which involved quick changing of costume and the use of identifiable character masks. All plays were performed in
an open–air theatre.
According to Babiak the medieval period of theatre (in England) is considered to extend from the Fall of Rome, around the year 410 C (Babiak). It

Connotation On The Theatre Tradition Of French Farce
Hello my name is Jonathan Platt and today I will be preforming my research presentation on the theatre tradition of French farce.
The tradition itself is a farce of French origin, more specifically the second half of the fifteenth century
So first things first we have to ask ourselves what is a farce. The word itself is French, which really isn't surprising and its meaning is seen above. The
root of the word actually has culinary terms from the Latin fasa which means stuffing . So the genre as a whole may have connotations to the medieval
theatre tradition of stuffing the program with as many plays as possible . However this is not what I am here to talk about. And of course the purpose
of a comedy is to entertain the audience and make them laugh. However there is also some debate among theatrical scholars regarding if the purpose of
these plays was not in fact entertainment, but in fact edification which would act as a teaching ... Show more content on Helpwriting.net ...
French farce makes use of a variety of different aspects of humour for comedic effect. It should also be noted that the use of various types of humour
keep the audience on their toes, so to speak, which therefore keeps the audience laughing as they don't know what to expect, thus making everything
seem just that little bit more absurd.
Now, I must move on to discussing the cultural context of the tradition. Even though most French farce's originated in the 15th century, the very first
French farce that exists was written in the 13th and is entitled "Le GarГ§on et l'aveugle" or the boy and the blind man. The plays author is
anonymous and similar stories have appeared in Italian traditional theatre as well as ancient Roman and Greek, hinting that the play itself is more of
a part of oral tradition and folklore. Additionally the play has almost no set and is performed by only two actors and they would most likely be

Analysis Of Neil Fraser 's ' The Golden Age '
Theatre History Explained Neil Fraser outlines the history of theatre from Greek and Roman times, all the way through the twentieth century. Fraser
makes a claim that theatre truly began in Greek culture with even the Roma's looking upon that time as "the golden age". "The Romans looked back on
Greek theatre of circa 600BC as a golden age, and we can still make a case for the great plays of that period as having never been bettered." (Fraser,
2004, pg.5). Some of the more important highlights of this book include the transformation of theatre as we view it today from what it originally
looked like. It's roots in Greek religious ceremonies progressing from a chorus of priests speaking all together in unison to a solo voice being used as an
... Show more content on Helpwriting.net ...
These "pageants" gave birth to a new type of play called "mystery" or "miracle" cycles (Fraser, 2004). From there Fraser concludes that the medieval
theatrical genres eventually became "outmoded – or rather, grew and developed into new ones." (Fraser, 2004, pg.45). From Medieval we turn to the
Elizabethan stage which is what most everyone thinks of in regards to theatre and performance art. In this stage we begin to see a form of censorship
and theatre becoming less and less involved with the church (Fraser,2004). We also begin to see a change from outdoor theaters to the indoor theaters
with audience seated in front of a large rectangular stage and balconies to hold more affluent patrons (Fraser, 2004).
The Shakespearean Stage 1574–1642 In the Elizabethan era, also known as the Shakespearean era, we see less and less of plays drawing from the
church and more of the strolling entertainers that roamed from place to place performing. From strolling minstrels we move to professional
entertainers in repertory companies with significant financial backing (Gurr, 1970). "The statute of 1572 required each company to be authorized by
one noble or two judicial dignitaries of the realm:" (Gurr, 1970, pg.19). These companies were employed by the royals and their their major aim was
to pease the

Commedia Dell Arte Influence On Theatre
Commedia dell arte is considered a place where professional actors are born and it is also the birthplace of improvisation. Commedia dell arte was
famous all over Europe from 16th to 17th century, because of their improvised performances, comedic plays, their stock characters and their masks. I
based my essay on the idea that commedia dell arte made huge impact in the history of theatre and our modern society. Famous people like
Shakespeare and the French play write Moliere and so much more, they were all influenced by this unique style. Even nowadays commedia is still
going strong in other theatres but mainly famous in the television shows in our modern days.
Commedia dell arte or the theatre of the professional, these troupes were so famous ... Show more content on Helpwriting.net ...
They created the concept of commedia erudita (6). This is similar to commedia dell arte except these productions were scripted and more serious
portrayals of everyday life or even historical pieces. Commedia erudita or learned comedies, mainly scripted to be perform in courts by nobles and
scholars (7).
All of these different theatres style were influenced by commedia and it produced some of the greatest plays in history especially Shakespeare plays,
The tempest, The taming of the shrew, Merchant of Venice, and so on (8).
Commedia dell art was not just well known because of their improvised performances but also their masks. Each mask represents the character of the
actor's role and they have a large array of human emotions. The use of masks wasn't entirely a new idea, as some of the earliest theatre groups have
their own designs. Masks show the audience that the actual character is on stage instead of being acted out. But performers still have to do it on cue
as well; if cues are not included in their plays then the action fails to present the rhythm. This might have happened to many actors in Italy in the
renaissance era since acting was still in its primitive form. However, actors today are quite professional and they can improvise any cue if missing
during their plays, if everyone helps out each other and produce hilarious skits will definitely make the audience laugh and they won't even notice their

Guildenstern Play Review
"Rosencrants and Guildenstern Are Dead" Review Going into this play, I knew it was at TCR and that was it. I didn't know what to expect from it
either. When entering TCR, we were told to go downstairs. I didn't even know they had a basement, I thought it was just the regular theatre I had
been to two times previous. I was very surprised to what I saw when I walked down those stairs, as well as I was intrigues by the actors, their
performance, clothing, props, and set design. Walking down the short steps and seeing the greeters greet me with programs Ithought it was going to
look like a normal theatre then as I turned the corner I was shocked. I thought this was a big performance, but it was a small floor space with seats all
around. Not ... Show more content on Helpwriting.net ...
Guildenstern and Rosencrantz were flipping a quarter for almost 30 minutes probably, which was really confusing to me. Also, Guildenstern was
talking in mostly Shakespeare, wheres Rosencrantz was using more modern language. I definitely think it was easier to interpret this play more
than it was Hamlet. Hamlet also came into the mix during this play, I wasn't sure if Guildenstern was supposed to be Hamlet or Hamlet's friend,
because he mad a reference where it seemed like he was the ghost of Hamlet kind of thing. I thought it was interesting in the aspect that there was a
lot going on in such a little space. There were probably 10 actors total, and they all had very different personalities which made it fun to see all the
different types of characters. I felt like also though, that there was too much going on as well, there was a point where there were sexual jokes being
tossed around, and then going into the "King" with forks and knives as a crown walked in, and then going into "Hamlet" being a punk rock looking
dude. It was definitely a little confusing but also very interesting at the same time. The costumes were different for everyone. Guildenstern and
Rosencrantz wore similar outfits just using different colors, they weren't typical everyday outfits either. They remind me of outfits that you would see
in the medieval times. Then Claudius came out in a white nice suit, with sunglasses on, and a crown made out of knives

Examples Of Theatricalism In Angels In America
Three ways in which "Angels in America" fits the qualifications of theatricalism: In order to understand the examples that I give, firstly, I will provide
a brief definition of theatricalism. Theatricalism, for the purpose of answering the question, is the following of a 20th century theatre movement, that
rather than being focused on the natural world, and staying true to that realism, focused on the story and lesson to be said and taught without regard
to whether or not the work was realistic. Example 1, The Angel: The angel is probably the most obvious example of theatricalism, because, though
angels, may or may not exist, it is unheard of to be visited by one. Yet, by not focusing on what is, rather what can or could be, the angel

Greek Theatre Research Paper
During the 5th century, only men were able to participate and act in plays. Greek and Medieval Theatre both did play during special occasions. Greek
and Medieval Theatre had playwrights, themes, actors, produced worldwide theatre, both were located in a type of amphitheater, costume, staging, and
a type of genre. Both had their first play during the 5th century. Greek Theatre has a lot to do with Greek mythology, like god and goddesses as well
mystical heroes. The Medieval Theatre presented epic hero sometimes dealing with demigods and normal people that challenged the gods. It also
portrays to Marcuity plays.
Ancient Greek theatre performed when there were special occasions also known as festivals. Ancient Greek theatre actors were played ... Show more
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During Greek and Medieval theatre, only men were apart of theatre productions even teenage boys. They had women actors, but they were dressed as
teenage boys sometimes men. Men were looked as more distinguished over women. Currently in modern theatre the front row and seats that are in the
front are more expensive than the cost of seats during ancient theatre. During ancient theatre interacted with their audience more. If the audience was
not enjoying the play they would throw rotten food on stage. Modern theatre had more advanced technology compared to ancient theatre. Theatre
performances are more of a formal

The First Six Lessons And William Shakespeare 's As You...
Theatre stage conventions are used to heighten and convey a story's narrative in the Greek, Medieval and Elizabethan Eras of theatre. Each era built on
the foundations of Greek theatre staging, through all of this are a perspective of modern Theatre was born. In order to understand a play, one must
detail the conventions associated with the production. One must ask themselves if the play a presentational or representational piece? In this paper, I
will be comparing staging conventions through Antigone, Acting: The First Six Lessons andWilliam Shakespeare 's As You Like It. Antigone is a battle
between opposition, while As You Like It is a tongue and cheek melodrama. Acting: The First six Lessons stands out for its depiction of parental
nurturing and teaching. It is a play devoted to the theme of teaching rather than it is characters or spectacle. Its conventions follow suite in this
ambition. First off, important to note that the functions of theatre conventions set the rules and parameters of the world the actors happen to embody.
In Acting : The First Six Lessons, Actor who is known as Teacher in this scene in introducing the Actress who is portraying the creature.
Creature. Oh, sorry...
(to the Audience)
This is my daughter Emily...She even Said (8).
Within the first moments of dialogue the similarities between Greek theatre are evident between the Creature and Teacher. They are speaking
presentationally and we are led to believe that we are in a equal state with the

Types Of The Middle Theater : FAQ About Medieval Theater
FAQ about Medieval Theater
1 Q: What type of plays were the most popular and who was the most popular play writer?
There were three types of plays that were the most popular. One of them being Mystery plays, which were stories used from the Bible. One play had
the priests and monks that were actors and there were four or five different scenes/acts. Another popular type was The Miracle play, which was about a
saints life and their actions. And lastly is the Morality plays which taught people about life as told by the rules of the church (Donn). One of the most
popular play writers was a woman named Hrosvitha. She made many plays that were popular in the Medieval Times (McDonald–Miranda).
2 Q: Where and how were performances performed?
There were two main areas that plays were typically held. One of them being Mansions, which aren't the mansions we know today. Theses mansions
were small scenic structures, for example, a throne may be the palace of Pilate. Another main area they were held was a Platea, which is a general
acting area, neighboring a mansion. The mansion and platea were loaned from the church services (Trumbull, 2007).
3 Q: What did the costumes, sets, and specials effects look like?
There were two different kinds of stages the plays were performed on, fixed and moveable. (Trumbull, 2007). Churches provided the costumes for the
actors. Actors in liturgical dramas wore church clothing, but this slowly converted overtime. Actors often wore masks, which came in

Elizabethan Era Cinema
What were theatres like?
The beginning of theatres was very similar to how they are today. For example, they still had a large audience watching performing actors who have
scripted and learnt a set play. They also had teared seating as well.
The beginning of theatres was in 500 B.C. and back then going to the theatre was a big event. All of the women use to get their slaves to do their hair
especially nice and choose out the best dress they owned.
One of the reasons this event was so big was because it was occasional– unlike today when we can book a theatre production all year around, back in
500 B.C you had to wait because the Theatre group only visited a few days every year.
Another difference was that to go and watch this theatre group ... Show more content on Helpwriting.net ...
During the summer of 1851, there was a count of theatres, and there were 19 theatres in London.
Stage managers were introduced. Their jobs were the equivalent of modern–day directors and producers. Because of stage manager, a lot of backstage
confusion was stopped and chaos was reduced.
Who were the audiences?
The theatres were not restricted to certain classes of society. This is because they had improved the transportation system so the streets were far safer
to travel along (especially at night). This meant that plays could run longer into the night without people having to worry about how they were going to
get home safe. Therefore, theatres produced more money and consequently produced better plays.
Which plays were performed?
The main type of play was 'comedy'. This was a combination of high and low comedy. Plots based on coincidence and/or mistaken identities The
characters usually puppets of fate. They were usually unable to get married because they were too poor or too rich. They would also suffer a loss of
identity due to an accident. Another popular plot was where twins were separated and then they are unaware as to their double.
Some of the techniques used as well were:
Slapstick
Loud noises
Physical

The Church's Influence On Medieval Theatre
Today's society has been influenced by many things from the past. From governments to hippies, from historians to pioneers, from warriors to
peacemakers. Our society has been influenced by many things. Theatre is one of the majorities than influence us. This common day is given by the
community of theatre. The most influence came from greek and roman theatre. They provided masks, which led to other face themed objects such as
make–up. Most importantly, They provided the basis of theatre by introducing theatre into the world, and we still use the character attributes from that
day. They added a basis of religion to theatre which may have inspired the future in the medieval days. Saint plays, and passion plays resulted in Easter.
These are some of the things that Medieval theatre has influenced.From plays, to acts, to transportation vehicle. Saint plays inspired plays about divine
entities, such as the movie Constantine. Passion plays inspired things, such as Easter in Christian church groups. The most interesting thing that they
contributed in my opinion... Show more content on Helpwriting.net ...
That would be the grand dilemma we all must face at one point in our meddlesome lifes. To permit ourselves to take control of our livelihood, or to
follow others blindly. It matters little to the designated mind if others no longer wish to follow in the way of the determined souls. That of which as I
speak of a master of playwriting, William Shakespeare. The contribution of this man is grand. Nay, he be more than man, but rather a hero. This
generation of idiots should take merit to the pleasure of using the eight–hundred out of three–thousand terms in which he bestowed upon us. We act his
beautiful masterpieces of theatre to this day. Such works consist of Hamlet, MacBeth, and Romeo and Juliet. Foremost, this hero of the stage has
brought a world of inspiration to everywhere upon this rather desolate plane of

Ancient Greek Theatre Analysis
Theatre History Ancient Greece In ancient Greece the Theatres were split in 3 major parts. The Orchestra, The Skene or stage, and then the main
theatre segment which was called the Koilon. The Orchestra was placed in the middle of the theatre in a circular pattern. They had a Thymeli
placed in the middle of the Orchestra, the Thymeli was used as an altar and later was were the chorus stood. The side of the Skene faced the
audience serving as a background. The Skene had as many as three entrances for actors. Ib between the Skene and the seats, there are two entrances,
one on the right and left which was called the Parodoi. The roof of these ancient greek theatres was flat and it was called the Theologian. The
auditorium of the theatre was shaped in a semi circle which was divided in two Diazoma, upper and lower. The indoor theatres were called Odeia.
The Athenian Theatre plays were focused on the god Dionysus the god of wine, fertility, and agriculture. The Greek theatre had loud music, bright
colors, and extensive dancing. These plays showed violence and daily life, social and ethical plays, war, murder, lust, and betrayal. Many
playwrights were Sophocles who was born in Athens the year of 496 B.C. and he wrote over hundred plays for Athenian theatre and only seven have
survived to this day. Another man who wrote plays was a man named Aeschylus, he was born in the city of Eleuis and was born in 525 B.C. and
wrote about 90 plays, and once again he too

Roles And Roles Of William Shakespeare 's ' The Revival Of...
7. With specific reference to ONE or MORE of the Quem Quaeritis tropes, discuss the role played by the Church in the revival of theatre in Medieval
Western Europe.
The relationship between Christianity and theatre was always a complicated one, however, it was the Church that played a vital role in the revival of
theatre in Medieval WesternEurope. After a drought of theatrical performance, the Church slowly evolved from presenting liturgical readings to
dramatic tropes. Quem Quaeritis tropes were not plays, but aimed to amplify the experience of devotion to the commemoration of Christ. This being
its purpose is what causes it to be interpreted as drama. These tropes and other aspects of the Church's presentation became increasingly dramatic,
causing the Church to become a residence for theatre. However, theatre was banned within the Church as acting or 'false truth' was seen as sinful. From
there, theatre instead was performed outside, developed further and spread around Medieval Western Europe.
Centuries passed in which theatre was scarce, hence theatre was 'revived' rather than 'continued' in the Middle Ages. Previously, Greek theatre, from
the sixth century BC, was vastly popular from tragedies to comedy. Even in the third and second century BC, Roman comedy was a popular form of
theatre, influenced greatly by the Greeks. However, up until the 5th century, as theRoman Empire thrived, popular performance taste had diverted its
attention to other activities such as

Zeami Motokiyo : An Art Form
Zeami Motokiyo was a Japanese actor, playwright, and theorist of the Noh theatre. Today, he is widely acclaimed as one of the most innovative
thinkers in the history of the stage. According to Shelley Fenno Quinn and her book Developing Zeami, Noh theatre is "an art form that depicts the
life of the emotions in a synthesis of dramatic, musical, and choreographed elements" (1). While known for his acting and plays, Zeami is also known
for his use of images in nature as a continuous metaphor. For example, the hana or flower is both an aesthetic principle and the soul of the actor of the
character or play. It is also beyond that, a spiritual quest. This metaphor is used to evoke a sense of the spiritual and special qualities found inNoh
theatre. According to Quinn's book, "an actor who possesses the flower is one who has cultivated both the sensibility and the technical virility to read
his audience to adjust his performance accordingly" (3). While the flower is used to symbolize the soul which every actor should take on, it also
important to realize the physical and psychological cross–bordering. In Noh theatre, the physical and psychological cross–bordering is important and
allows the audience's emotional involvement. Although Zeami mainly focused on the actor and the flower, I believe the flower can also relate to the
audience. Through this aesthetic movement, the audience can also be perceived as a flower. In the medieval Noh theatre, the word "body" goes
beyond the

How Did Christianity Influence Medieval Theatre
Christian Influence on the Theatre in Medieval Times While the time during Medieval Europe is widely regarded as "The Dark Ages," this time still
saw a lot of advancement in the theatre. Theatre during this period initially erupted out of rules and regulations set by church doctrine. The church saw
a utilitarian aspect of the theatre, and began to implement aspects of theatricality in their church services, drawing in the attention of all who attended
the service. Out of necessity to reach out to as many people as possible with the word of God, especially the illiterate, liturgical drama, the beginning
mark of medieval drama, was created to draw in church–goers. However, as theatre is an ever–growing institution, this soon resulted in an outbreak of
theatre outside of the subset of church service, and into other routines of the time period. New ideas of theatre were created... Show more content on
Helpwriting.net ...
During the Medieval ages, Christian thought was the driving force behind the advances in theatre that took place, and helped to shape theatrical
practices both in and out of the church service. Theatre during the medieval ages began during the church service, as a way to further exemplify God
and keep the attention of and reach out to as many church–goers as possible. This was done through the practice of liturgical drama. It is important to
note that before the implementation of liturgical drama, theatre had previously been banned by the church because it was deemed offensive to the
church, church practices, and its ideals, mainly in Roman theatre (Robinson). Now the same church that decided against theatrical

How Did Shakespeare Change Over Time
Emergent large, commercial theatres during the reign of Queen Elizabeth I ((1558–1603) were able to reach an unprecedented level of artistic
achievement due to unprecedented socio–cultural changes. These changes included a breakdown of the feudal system of the Middle Ages, the
Protestant Reformation and a movement towards Humanism. Despite these radical societal transformations, continuities with the beliefs and structures
of the recent past – including the concept of a Chain of Being and a belief in the four humours of the body – are evident during Shakespeare's lifetime.
A demand for labour was created by the rapid rise of industrial towns and the Black Death, which wiped out two–thirds of England's labour force. The
power of that this gave the working class contributed to the decline of feudalism. Queen Elizabeth's efficient, centralised government was another
contributing factor, as was the transition from a land–based economy to a money–based economy. Peasants' newfound purchasing power and freedom
of movement created a greater demand ... Show more content on Helpwriting.net ...
The cosmos was understood to be composed of four energies present in fire, earth, water and air. These energies manifested in the body in the form of
black bile, phlegm, yellow bile and blood. One's humours and the balance thereof determined one's personality. Blood was linked to a courageous and
playful temperament, yellow bile to anger and ambition, phlegm to patience and thoughtfulness while black bile was linked to melancholic tendencies.
The humoral theory held that one should strive for balance between the four humours. Playwrights during the Elizabethan era explored characters with
imbalanced humours – Shakespeare presented the melancholy Ophelia in Hamlet, and the sanguine Juliet in Romeo and Juliet, the choleric Kate in
Taming of the Shrew and phlegmatic Hermione in Winter's

Medieval And Renaissance Theatre : Overview Of Medieval...
Overview of Medieval and Renaissance Theatre Throughout the early Middle Ages, the theater had suffered some underdevelopment and ultimately
diverged a great deal from the Greek ritualistic theater. The Middle Ages ranged from the 5th century to the 15th century A.D. and theater during
this time is split up into two parts. During the early age, (5th to 8th) it was a time where there was essentially no major progress in the field and
everything learned seemed to have been forgotten. The activities that were going on at the time made theater a simpler version of what everyone
looked up to. It was a time where theater really struggled to survive. By the end of the age (9th to 15th), the theater got out of its failing state and once
again began prospering and contributing for the new generations. In hindsight, it is surprising theater survived this period due to disinterested people.
Early this period, the interest for the theater was at it all time nadir amongst the Western world and the only attentive viewers were the royal families.
Bearing in mind this vigorous demographic, theatrical plays performed prominently for the French and Anglican kingdoms (Walker 188). It is
stimulating to note that theater was not only performed in small groups it was also regarded as the same type of entertainment as the ones of mimes,
acrobats, dancers, jugglers, storytellers, and wrestlers (Walsh 375). One would think that it would have been highly regarded even during these dark

Analysis Of The Movie ' Zainab 's Life '
Zainab 's life is, however, different. She has to take care of her sick mother, to manage the house, and even to work in order to help her father. In a
cinematic way the director shows the way in which Mourad spent his four years in Australia getting his Ph.D., by presenting his picture on a
screen with a girl on his lap, gambling, and flirting with girls. Whereas, on the other hand, there is Zainab 's picture going through books and
political documents, visiting a sick worker, and surrounded by workers who want to elect her. Mourad comes back after the foreign experts were
forced to leave Egypt in 1956 and he becomes the production manager in one of the factories. Zainab turns out to be on the production committee of
the same factory and they meet again. Zainab 's philosophy in life appears to be less hypocritical than Mourad 's. The years he went away left her
sore. She says,"I learnt that he who has a wound in his heart is better than he who has a stone, that the working hand is more blessed than the full hand,
and that the healing soul is worthier than the one that oppresses"(1. 35). When Zainab agrees to go with Mourad to his house, the director and the
playwright argue about the scene. The playwright does not want Zainab to lose the sympathy of the audience, whereas the director presents his
Manichean view that there should be a victim and an oppressor. Afterwards, Zainab tells Mourad that she is pregnant and then his ugly face

The Medieval Church And The Development Of Medieval...
Medieval Theatre was a source of education and reflection for the residents of the Middle Ages. Serving as an inspiration for Renaissance plays, it
took centuries of evolution for Medieval to accommodate themes outside of the Bible. Theatre in the Middle Ages was an enemy of the Catholic
Church, who tried to terminate these performances. Unusually, the Catholic Church played a significant role in the development of Medieval Theatre.
Although plays were limited to the themes of the Bible for a long period of time, bizarre masks, costumes and great structuring of stages were used.
Following the collapse of the Roman Empire, a small group of performers travelled to various destinations to entertain audiences about all aspects of
life. They toured countries and many regions to tell stories, play music and even perform acrobatic arts. Wherever they went, festivals emerged. This
caused commotion between Religious practitioners, who tried to convert the performers and end their performances which were deemed sinful. The
Catholic Church, which was highly responsible for the growth of Medieval Theatre, offered a service. This service provided the dramatization of
Biblical stories which were held on church premises. It was not until the 13th century that religious performances were beginning to be held outside of
the church. Medieval Theatre experienced a fundamental change in its 800–year rule, ending its reign in the 16th century.
In regards to what the plays were performed on,

Medieval Theatre Research Paper
The theatre differed when the church was in authority and when individual nations took control. During the early Middle Age, Europe was operating
by the feudal system. Feudal lords were given authority over vassals and were require to present their superiors with soldiers ready for combat.
Christians sought to convert everyone to Christianity and dismantle the theatre from its original use. Under the church authority, there were three
types of dramatic forms: mystery, morality, and miracle plays. The goals of the religious plays were to teach and reinforce Christian values. The good
characters and behaviors were rewarded and evil was punished. Religious plays were performed in cycles and the motivation behind them were based on
God and his plan. Mystery plays were performed by monks and priests. Often, only four to five ... Show more content on Helpwriting.net ...
As the Kings regain authority, courtly entertainment became more widespread. Minstrels, mumming, disguising, and tournaments became popular and
elaborate in performances. Farce focused on marital infidelity, quarreling, cheating, hypocrisy, and other human shortcomings. Tournaments were
initially established to train knights for battle, but because of so many casualties, the outline for the tournaments changed. By the 1300, tournaments
were performances where a knight would fight to capture another knight's mansion and female interest. The Renaissance began after the 14th and 15th
century and upon soldiers coming home from the Crusades. Europe during the Italian Renaissance, paintings were more realistic depictions, musicians
studied Greek drama, and opera began combining theatre and music. Greek and Roman teaching were incorporated in Renaissance literature and
people were able to express themselves in new ways without the church's strict governing. The Renaissance was taught how to be creative and respect
the gifts of the past in their use of literature and the

Medieval Theatre Research Paper
Scenic Design The Medieval Time period or Middle ages lasted from the 5th century to the 15th century, begging from the fall of the Western
Roman Empire. Medieval theatre developed from between these times, providing many dramatic, religious, and comedic plays throughout its era
some of which still influence us in today's thriving theatre culture. In the High times(early times) of the Medieval period a number of plays arose
outside of church walls. Comedic plays and Mystery plays were very popular at the time and where performed in the streets of town on a pageant
wagon. A pageant wagon is a stage or cart that accommodated to the mystery and miracle play cycles two of the more popular types of plays. The
wagon would stop at key locations and perform a scene, when the scene was over they would move onto the next location. There is very... Show more
content on Helpwriting.net ...
There is a high room where the play was actually performed and a low room where the actors would change in costume. The wagon would be
mounted on six wheels and the height of the structure would be 15feet, 9 of which would be used for playing space. Medieval stages and sets were
designed to be temporary, meaning upon the completion of the play the stage production was expected to be removed. Plays like the Wakefield cycle
or the Digby Magdalene would utilize as much spacing as possible. The actors would move on the wide spaces on the front of the stage which were
elevated, and two actors generally moved between them to suggest a scene–change. Another stage that was utilize during this time period was
mansions, which originated within churches. They are a small wooden platform with a covering over them when they were inside the church. Their
Theatre purpose was to represent specific locations and the actors would move between them. The acting area was called the platea, and the platea
would take on a scenic identity. Unlike in church where the mansion was stationary in theatre both the actor and supporters would

Idealism Vs. Illusionistic Traditions In Medieval European...
There are many different things that go into a performance. Either it is the planning of a play, getting the costumes ready, using emblematic tradition or
illusionistic traditions. These two types of traditions are important in a performance. They both have great meaning in a performance and help the
audience distinguish different meanings of an object or a character. Below I will discuss these traditions and their meaning. I also will discuss what
they have in common, how it compliments drama in the time period.
Firstly emblematic traditions and illusionistic traditions are not the same thing. They have different definitions and they contribute to a performance in
a variety of ways. In the medieval European theatre emblematic traditions were emblems that the ... Show more content on Helpwriting.net ...
An emblem could be as simple as a characters clothing. The Italian Renaissance Theatre illusionistic tradition was the use of visual imagery and
decorations to enhance the theatrical performance. An example could be sea scene since this was beginning to be popular at the time. A sea scene had
a large sheet of a painted cloth that was moved up and down rhythmically by cords to the underside; in another, a series of two dimensional pieces
shaped like waves would simulate the real motions of the sea. One of the most important things that both of these traditions had in common, were that
they focused on improving the theatrical performance and was making the performance more enjoyable and an all–around better experience for the
audience. The medieval Europe emblematic tradition usually allowed for very little decorations for the set and costumes but the illusionistic tradition
in the Italian Renaissance was different. It was based on the need to understand and perfect areas of geometry and perspective in which could be seen
in a variety of pieces of art at this time. They used geometry and math to create illusions and used perspective painting to achieve the affect they
desired for. Earlier I gave

Robin Hood Research Paper
On Sunday April 22, 2018 I had the chance to see Robin Hood at the Springfield Theatre Center at the Hoogland Center for the Arts. This play was
written by Larry Blamire and directed by Kelly E. Bassett. The story line of this play is on that presences a heroic lifestyle of an outlaw. The
production within itself was packed with multiple design elements that help portray a realistic setting to connect the audience to the time frame in
which the play is taking place. Elements such as the lighting design, costume design, scenic design and acting all combined help make Robin Hood a
memorable play to have been seen. All of these elements together help depict the theme and setting of the play just well.
Uniquely, the production did not start the play off as a tradition play would be. There was the tradition lowing of the house lights however, the very
first actor did not enter the stage as one would normally do. The main ... Show more content on Helpwriting.net ...
Although, the paly was one that included comedy the actors all stayed in character and remain in their professional stands of getting the necessary
reaction out of the audience through their acting. The actors dancing, accents and dialogue all depicted the medieval time period and all the
characters acted within that mindset of acting as if they were born into the medieval time period. For example, when the kind and queen spoken they
would speak in terms that were of an old out dated time frame verse how we would speak now in every day conversation. Also, the kings and queens
were greeted in a way that was unique to them to show their superiority over the common people. One thing that was not so common but it stood out to
make the play unique was the fact that the mother of the kings was not accepting of everything her sons did. She questioned their authority and made
her own decision. Which I feel is unique and showed the power gap that existed back in those time

Contributions To The Performing Arts
Innovations and Contributions of the United States to the Performing Arts The innovations and contributions of theatre and television over the
centuries have changed the world of performing arts forever. These revolutionary changes and gifts to the performing arts occurred in the United States.
Contributions of theatre guild, the Shubert brothers, and Native Americans shaped theatre. Philo Taylor Farnsworth, public broadcasting, and MTV are
part of the contributions and innovations of television. All of these events are a few out of many key elements that have molded the performing arts. In
the United States, theatre began as performances of rituals by Native Americans. When the Spanish settlers arrived in America, the Native American's
ritual performances changed into another kind of ritual based on the medieval European Christian morality plays. In Colonial America, theatre was
banned for numerous years. Part of our basis of theatre today comes from the Native American rituals that celebrated their culture and ways of life that
the settlers recorded.
The Shubert brothers and their major role in theatre began in the early 1900s when Lee Shubert was ten years old selling newspapers in front of a
local theatre, and his brother, Sam stumbles into the theatre. Sam was cast into a small play and fell absolutely in love with theatre. Fast–forward later
and the brothers along with their youngest brother, Jacob, becomes theatrical managers, and producers of the largest theatre

Commedia Dell Arte Research Paper
rom the mid–17th century through early 18th centuries, theatre was revived. Previously, theater had been vested in medieval themes. Liturgical drama,
namely morality plays, was common along with other religious plays that seemed to have an air of mystery and was mainly fixated on emotions.
However, as a way to refrain from presenting drama in a traditional Roman way, neoclassical ideal was formed in Italy and eventually spread
throughout Europe. Dissimilar to previous eras, neoclassicism focused on presenting drama as realistically as possible. Playwrights sought out the truth
and believed that the main reasons to produce a play was to not only entertain, but to teach lessons as well. They wanted their characters to not only
represent what was typically seen in everyday life, but also to adhere to the social norms and traits of members of their social class. Two major
concepts from this time, verisimilitude and decorum, portray this.
Verisimilitude is the 'appearance of truth' or having all components in the play joining together to ensure that the play is believable, which ruled out
previously acceptable ... Show more content on Helpwriting.net ...
It had begun in Italy prior to the start of neoclassical ideals, however it flourished in the 17th and 18th centuries. One of the most important
contributions the Commedia dell'arte had on theatre is its introduction of improvisation and stock characters, the zanni, vecchi, and the innamorati. The
zanni characters were seen as servants and had a variety of specific stock characters. The vecchi were the masters or elders and the lovers were called
the innamorati. Each stock character had a unique set of attributes that became standard to the portrayal of the character. They each had a distinct
speech and tone, along with distinguishing gestures, props, and costumes. Performances were based on a predetermined scenario or basic plot,
however the actors improvised their

Everyman
The Parable of the Talents therefore refers to the metaphor "life is a precious possession." If you have many talents, you must
"invest" them wisely––use them as you should use material goods, in a charitable way. If you have a few talents, you must invest them
wisely as well. Even if you have only one talent, you must invest it wisely and do good in the world with that talent.In an important way, the play
Everyman demonstrates the ways in which a person who does have talents (Good Deeds that are trapped in the ground) wastes them, like the servant
who buries his one talent in the ground and is cast into the dark, the "place of wailing and grinding of teeth." According to the play's
allegory, what forces in ... Show more content on Helpwriting.net ...
The say that Everyman is committing a selfish act by asking them to go with him. Everyman is still alone.Scene 4:Goods. Everyman wants Goods to
go with him to the afterlife. Goods does not go because materials are not what make a person. The idea of heaven or hell is to see what kind of a
person that you were in your life.
Goods to do not decide what sort of a person someone is. Goods does not care about going with Everyman because goods can just be passed on to
someone else. Goods is rejected to accompany Everyman. Scene 5:Everyman asks good Deeds to go with him to the afterlife. Good Deeds refuses
because Everyman has not done very many good deeds in his life. Good Deeds, hence the name, does a good deed and leads Everyman to Confession.
Scene 6:Everyman meets up with Knowledge, Good Deed's cousin. Knowledge accompanies Everyman to Confession where he is joined by Five
Wits, Beauty, Strength, and Discretion. Everyman confesses all of his bad deeds to the priest. After Everyman is forgiven, he looses all of his
characteristics, but Knowledge and Good Deeds. Knowledge leaves. The priest releases Everyman.
Scene 7:Everyman and Good Deeds descend into the grave. Knowledge hears the angels sing. The angel welcomes Everyman and tells him his
"reckoning is clear." Characters:Every character represents a different characteristic of the main character, Everyman. The characters are
used as symbols.

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