Ethics Of The American Counseling Association

Ethics Of The American Counseling Association
According to the American Counseling Association (ACA, 2014) Code of Ethics, ethical principles
are based on a set of values that include autonomy, nonmaleficence, beneficence, justice, fidelity,
and veracity. These ethics apply to all types of counseling including both group and individual
therapy; however, different aspects of these ethical guidelines must be considered based on the
therapeutic approach. This paper will identify several of these ethical issues as they relate
specifically to group counseling, while also evaluating how these differences compare to ethical
guidelines within an individual approach. Based on this information, a final analysis will be
provided on when therapists should choose group versus individual for a client.
Identifying Ethical Issues in Group Counseling
According to the American Counseling Association (2014) Code of Ethics, ethical principles are
based on a set of values that include autonomy, nonmaleficence, beneficence, justice, fidelity, and
veracity. As an editor with International Journal of Group Psychotherapy, Virginia Brabender (2006)
further clarifies these principles as they relate to group therapy through focusing on four of these
values: beneficence, nonmaleficence, respect for autonomy, and fidelity.
Beneficence and Nonmaleficence Beneficence is a caregiver's responsibility to promote work that
will benefit the welfare of the client, while also preventing or removing harm. For therapists, this
obligation includes
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Antigone Creon Analysis
Antigone is a Greek tragedy written by the dramatist Sophocles in the early 400s BC, which takes
place in the city of Thebes. The play follows the story of a girl named Antigone and her
disobedience to the laws of Thebes ruler, Creon. Several centuries following the work of Sophocles,
Aristotle published a product of dramatic theory, known as Poetics. In this work, Aristotle discusses
the different aspects that make up a true tragedy. According to Poetics, Creon is the character whose
attributes fit him perfectly into the mold of a tragic figure. Creon believes he is doing good, but his
fatal flaw leads him to his demise. In addition, the character of Creon exhibits more pathos, or pity
than the character of Antigone. Because Antigone doesn't experience all of Aristotle's three vital
pieces of tragedy, while Creon does, this just proves that she cannot be the tragic figure of this story.
To start off, Creon is attempting to do what is best for the people of Thebes, but he is clearly and
fatally flawed in doing so. Throughout the tragedy, Creon is pursuing an unshakable kingship and
trying to prove his power by enforcing laws. Claiming that Polynices was a traitor, Creon passes a
decree that prohibits anyone to bury the body, or even mourn his death. Creon states that "a
proclamation has forbidden the city to dignify him with a burial, mourn him at all. No, he must be
left unburied, his corpse carrion for the birds and dogs to tear, and obscenity for the citizens to
behold!" (Ant. 68). Although this seems like the correct way to help Thebes attain peace and
stability, Creon is approaching the situation in the wrong way. As for Antigone, she does not possess
an obvious fatal flaw because she pursued her own demise. After all, Antigone wanted an acclaimed
death from the start. During the first scene, Antigone boldly proclaims to Ismene, "Dear God shout it
from the rooftops I'll hate you all the more for silence–tell the world!" (64). Antigone wanted to be
celebrated for her bravery, and for acting out courageously against Creon. There is no specific
attribute that brings her to this fate, but just the fact that she wished it to be that way.
Besides having a tragic flaw, Creon's character evokes the most pathos

Death Of A Salesman By Arthur Miller
What is the correct definition of tragedy anyways? Many people would define tragedy as a disaster,
but according to the book The Cambridge Guide to World Theatre by Martin Banham, the word
tragedy is "a word whose meaning changes with time and place" (1002). In Medieval times,
"tragedy came to mean the downfall of a person of high degree" (Banham 1002), but in recent times,
the meaning of the word tragedy has many definitions. According to Banham, "realists refused to
limit tragedy to privileged protagonists" (1002). Two famous tragic plays that I found to have a
genre of tragedy are Death of a Salesman by Arthur Miller and Eurydice by Sarah Ruhl. In both of
these plays, the downfall was not of a person of high degree but there was a ... Show more content
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Willy probably might have felt guilty about borrowing money from Charley each week just to show
his wife that he is making plenty of money. He was unsatisfied with his earning and lied to his wife
by bringing home extra cash from his neighbor. By borrowing money and not earning enough from
his job, certainly causes him to suffer.
Another example of Willy's sufferings was when he lost his job. For instance, Willy is dissatisfied
with his career and decides to ask his boss Howard to work in the town instead of traveling for work
from New York to New England every two weeks. Howard ends up saying "there just is no spot here
for you" (Miller 56) and ends up firing him. Although Willy had a long career with the company and
was very productive, Howard let him go. Willy defends himself by saying "I put thirty–four years
into this firm, Howard, and now I can't pay my insurance!" (Miller 57). Howard fires Willy at a time
when he was most desperate. This shows the "change in the hero's fortunes" (Nardo 73). Regardless
being fired from his job, Willy still had hopes for his sons Biff and Happy to start a new business.
Things did not go according to the plan and the business ends up not happening which causes Willy
to suffer even more. Willy goes through financial troubles which prevent him to achieve the
American Dream, keep his job, and provide for his family. These are all signs of disappointment and

Dr Faustus as a Tragedy
Q.1. Discuss Dr Faustus as a tragedy.
Tragedy – Definition
Aristotle defines a tragedy as a 'representation of an action which is important, complete and limited
in length. It is enacted not recited and by arousing pity and fear, it gives an outlet to emotions of this
type.'
However, for the Elizabethans, more specifically for Marlowe and Shakespeare, tragedy is not a
restrictive view of human excellence or weakness as the Greeks are often inclined to present but an
affirmative view of human aspirations whose pursuit brings a glory to the definition of a man.
Struggle, conflict, suffering and failure may be the inescapable attendants but the human spirit is not
stifled in its pursuits by what attends to them. The ability to withstand ... Show more content on
Helpwriting.net ...
Divinity adieu:
These metaphysics of magicians,
And necromantic books are heavenly:
The Strength of theTragedy
The play is a human tragedy for not only is Faustus tragically constituted in his boundless ambitions
but, at the same time, the play questions the effectiveness of the cultural aspirations that shape his
ambitions. Consequently, the play provides a complex interaction between the human dimensions of
the dramatic character and the ambiguities and ambivalences of the cultural situation the character is
placed in.
Yet while the play seems to offer a very basic Christian message–that one should avoid temptation
and sin, and repent if one cannot avoid temptation and sin–its conclusion can be interpreted as
straying from orthodox Christianity in order to conform to the structure of tragedy.
In a traditional tragic play, as pioneered by the Greeks and imitated by William Shakespeare, a hero
is brought low by an error or series of errors and realizes his or her mistake only when it is too late.
In Christianity, though, as long as a person is alive, there is always the possibility of repentance–so
if a tragic hero realizes his or her mistake, he or she may still be saved even at the last moment. But
though Faustus, in the final, wrenching scene, comes to his senses and begs for a chance to repent, it
is too

Essay on Luaghing Comedy-Oliver Goldsmith
The Theatre, like all other amusements, has its fashions and its prejudices, and when satiated with its
excellence, mankind begin to mistake change for improvement. For some years tragedy was the
reigning entertainment, but of late it has entirely given way to comedy, and our best efforts are now
exerted in these lighter kinds of composition. The pompous train, the swelling phrase, and the
unnatural rant, are displaced for that natural portrait of human folly and frailty, of which all are
judges, because all have sat for the picture. But as in describing nature it is presented with a double
face, either of mirth or sadness, our modern writers find themselves at a loss which chiefly to copy
from, and it is now debated, whether the ... Show more content on Helpwriting.net ...
In these plays almost all the characters are good, and exceedingly generous; they are lavish enough
of their tin money on the stage, and though they want humor, have abundance of sentiment and
feeling. If they happen to have faults or foibles, the spectator is taught not only to pardon, but to
applaud them, in consideration of the goodness of their hearts; so that folly, instead of being
ridiculed, is commended, and the comedy aims at touching our passions, without the power of being
truly pathetic. In this manner we are likely to lose one great source of entertainment on the stage; for
while the comic poet is invading the province of the tragic muse, he leaves her lovely sister quite
neglected. Of this, however, he is no way solicitous, as he measures his fame by his profits. But it
will be said, that the theatre is formed to amuse mankind, and that it matters little, if this end be
answered, by what means it is obtained. If mankind find delight in weeping at comedy, it would be
cruel to abridge them in that or any other innocent pleasure. If those pieces are denied the name of
comedies, yet call them by any other name, and if they are delightful, they are good. Their success,
it will be said, is a mark of their merit, and it is only abridging our happiness to deny us an inlet to
amusement. These objections, however, are rather specious than solid. It is true, that amusement is a
great object at a

The Play Proof By David Auburn And Directed By Peter Cocuzza
Destiny Cunningham
The play Proof by David Auburn and directed by Peter Cocuzza was presented by Southern Illinois
Universities Theater and dance department. This play is based on the life of a girl named Catherine
whose father ends up dying due to an ongoing mental illness. The play included two phenomenal
actresses and two phenomenal actors. The two actresses were Catherine and Claire, and the two
actors were Robert and Han.
In the beginning on the play Catherine and Robert, Who is Catherine's father, are sitting outside
having a glass of champagne to celebrate Catherine's Birthday. Catherine is talking to her father's
Ghost about how she wish that she could do as much as he did with mat. She tells her father's ghost
that she feels as if ... Show more content on Helpwriting.net ...
Catherine ends up calling the police because she was upset that Hal tried to take one of her father's
notebooks.
The next day, which is the day of her father's funeral, Catherine meets up with her sister whose
name is Claire. Claire finds out that Catherine had had champagne with her father's ghost and that
she called the police on Hal the night before. Claire insists that Catherine should move to New York
with her and her fiancé, who would soon be getting married. The first part of the play ended with
Hal coming in and telling Claire that Catherine had one of Roberts's notebooks that could really be
worth something, because sot has a proof that nobody has ever thought about. Catherine tells us that
her father didn't write that proof, she did.
The next part of the play starts with Catherine and her father sitting in the backyard talking before
he had died. Catherine is telling her dad about how she has decided that she will pursue higher
education because her sister Claire is willing to pay for it. Her father s devastated that she hadn't told
him sooner. The actors then come back to real time and Hal discusses his disbelief that Claire wrote
the proof. Hall tells Claire that he is going to take the notebook to other math maticians to see if her
proof was even accurate. Catherine then storms off and attempts to destroy the notebook, but her
sister doesn't allow her to do so.
Catherine goes back in her

The Comedic Value of the Play, Pseudolus
Each of the characters of Pseudolus has comic potential. According to Bergson's theory of laughter, '
The ingredients of comic character are rigidity, automatism, absentmindedness, and unsociability.' (
1956:156) All of these are apparent early in the play with the entrance of each of the characters.
Pseudolus is the essence of the clownish buffoon, with his bulging stomach and overly large feet,
yet he is also much wittier than Calidorus. The comic influence is attributed to Pseudolus who can
manipulate those around him, as a practiced trickster using his cleverness, nonchalantly dominating
the leaders. He does not use his intelligence and abilities to favor himself, all that he does, he does
for the benefit of others, although often the plans he introduces profit himself at the same time.
Calidorus is the pretty rich boy that has no thought other than what he desires next. His only concern
is freeing his love. He is rich, but has no power. Calidorus is pleasant and his moaning adds a lot of
comedy to the play, but he is not a dominant character, never a driving force behind the action. His
vanity is the essence of Bergson's mechanized comic character, who is usually comic in proportion
to his ignorance of his own faults. (Bergson 1956:171–173,71) Simo, Callipho, and Ballio each are
extremely satirical and are seen as caricatures of common stereotypes; the wealthy powerful misers,
the powerful distasteful pimp. The powerful may be rich, but those that are rich are

Gilead And Red Hot Patriot : The Kick Ass Wit Of Molly Ivins
The plays that I chose to see were Balm in Gilead and Red Hot Patriot: The Kick–Ass Wit of Molly
Ivins. These two plays were very different, one play had many different people talking at the same
time and the other play was a one woman show. There are many elements that make up each play,
and there are also specific scenic elements that contribute to the tone. The first play I saw was Balm
in Gilead. The set of this play had five different levels; it had the ground level (outside), the diner
level, the bedroom level, and two upper levels that looked like an alley way overlooking everything.
The main level that the action took place in was the diner. This level looked so real; if you were to
walk into this area you would think it was a authentic diner from the 60's. There were booths for
people to set in, a counter area with bar stools, and there was a kitchen with a stove, refrigerator, and
even some food. There wasn 't much going on in the outside looking sets of level one, four, and five.
But on level three, which was the bedroom, there was a nice bed. The sets of this play reflected the
theme quite well. The reason it reflects the theme was one, you could tell the play was based in the
60's and two, it had sort of a dingy feel which goes along with the characters, because they are
mostly prostitutes, drug dealers, or homeless people. The lighting of the play was mostly white light
with tents of amber. The diner area was brightly light, as you would expect in a diner;

The Rituals of an Actor: Biography of David Edwards
David Edwards is a stage and film acting veteran from Las Cruces, New Mexico. He has performed
in countless stage performances and several onscreen acting jobs during the last four decades. Mr.
Edwards employs both practical and magic rituals to the preparations for his stage performances,
and he keeps a good luck charm on his person. His rituals are less extreme than many other stage
performers who are extremely observant of superstitions and adamant about preshow rituals.
Anthropologists would take note of the greater ritual associated with stage acting than with film
acting, as performers feel a lesser need for luck in the mistakes– forgiving world of film. This
parallels the dichotomy between hitters and fielders in baseball.
David ... Show more content on Helpwriting.net ...
Edwards acknowledges that this taboo, along with several other behaviors such as whistling
backstage and wishing fellow performers good luck, as strictly off–limits for almost every stage
actor he's met. These behaviors stem from the culture of theater more so than any actual patterns
observed by individual performers, but they still are taken very seriously to ward off bad luck or
injuries during performances.
Edwards acknowledges that most stage actors have more rituals than he himself has, noting, "Actors
in particular are pretty superstitious" but that does not carry over as strongly into the behavior of
film actors. He said that it isn't nearly as stressful to perform in front of a camera, because "Onstage,
there are no second takes." The fact that film acting is less risky– a blunder can be done over as
many times as necessary– means many performers feel less pressure to perfect a performance the
first time around, therefore needing less luck and relying less on magic and ritual. As noted in the
2011 edition of Appreciating Human Diversity, "Magic is used to establish control," (Conrad P
Kottak p. 495). There is a wide difference between the control a stage actor has when compared to a
film actor. First of all, a stage actor is totally dependant upon other actors, while also being
depended upon, for things like correct lines and reaction to move the story along. If a

Drama Is Not Just Composed By The Actors Essay
Drama is not just consisting by the actors ' dialogue and movements; there is also a very special
consist part is chorus. Chorus usually plays a pretty important role in drama, and it also has different
functions in different storyline, and promotes the process of the story. Its location is irreplaceable.
This paper will take the scripts, which are Lysistrata (Aritophanes) and Despatch (Angie Farrow,
2015) as the example, comparative analysis the role of the chorus in this two scripts. It will discuss
the narrative device of the 'chorus' functions. The way to help the story of the play telling by chorus
and allow the narrative to unfold will be discussed in this paper, too.
The role of the chorus in the drama is just like a novel or a story 's narrator. In the case of the chorus
does not involve the using of lines of actors, it tells a story to the audience and provide some
information to them. For example, it tells the narrative structure of the drama, and succinct
information or comments. Chorus connects the relationship between the audience and the actors,
and became an intermediary agent between drama and the audience. The audience through the
chorus to blend into the story, but the chorus is not let audience immersed in the story completely
while they watching it, it guaranteed to help viewers to watch the drama as an onlooker. It can help
audience to follow the story framework and rhythm of the drama by what they designed.
Firstly, when the chorus appears as a

My Freshman Year Of High School, I Wanted To Be An...
My freshman year of high school, I wanted to be an occupational therapist like my mother. I
enrolled in all of the classes I needed. But with the extra class space, I decided to take some theater
classes. I did not realize that this class would through my career plan out the door. I started out with
acting classes because I thought that they would help me with public speaking. I then started to take
technical theater classes. These classes have helped my creativity grow. Both the acting and
technical theater classes have helped me obtain skills that will help me with my future career,
whatever it may be.
I did not know that I had a problem with public speaking until the time came that I actually had to
do it. I had to do a monologue in ... Show more content on Helpwriting.net ...
Sure, there would be actors, but they would just be sitting there naked in the dark reciting lines"
(Moll). I took what he said to heart. It made me realize how much of a difference one job can make.
In a way, theatre is an art form, getting to create an amazing show in a short time period. Mr. Moll
was not an everyday teacher. Many would say that he teaching ways were unconventional, but I
enjoyed it. "Dramatic arts shine with a compassion that makes us see beyond the suffering" (New
York Times). During the trimester he announced that he was putting on a show and he needed
technicians and actors. I tried out for both. The show was called I Hate Shakespeare; it was a
mashup of multiple Shakespeare plays. I was given a small acting part and a technical job. I had to
learn various skills in order to assist with building the sets, costuming, painting, and makeup for the
actors. As a technician for a play, the cast of the show is counting on me to know what I am doing,
and the director holds me to a high standard. Especially because I am acting as well. This meant that
I needed to learn time management skills and how to improvise when something goes wrong. In
addition, I learned how to work as a team with my classmates. When one person does not do their
job, then the entire show falls apart. We have to rely upon and help each other. A play is like a
puzzle, if a piece

A Doll House By Henrik Ibsen
In Henrik Ibsen's A Doll House, a drama play, which takes place in Elmer's house. It takes place
during winter which begins when Nora enters through the door. In A Doll House, I believe the
inciting incident is Torvalds promotion at the bank. They never have to worry about money again.
Nora's old friend, Mrs. Christine Linde, who is in need of help comes to visit Nora and ask for help.
Torvald gives her a job. You also have Dr.Rank , who is a family friend who is slowly dying of
tuberculosis. Things go very bad for Nora when Krogstad shows up because she borrowed money
from him when her husband was very ill and forged her dad's signature because she knew that her
father was going to ask what she needed the money for and also she did not want to tell her ill father
that her husband was very ill and needed help. Krogstad threatens Nora by telling her that if he gets
fired, then he will tell Torvald the secret Nora is trying to hide. Krogstad gets fired and writes a
letter to Torvald telling him about Nora's secret. All these events lead up to the climax, which is
Torvald reading Krogstad letter which makes him very angry with Nora saying all kinds of terrible
things. Torvald reads the letter and causes conflict between him and Nora, which is why I believe
this is the most dramatic point in the story because it causes a lot of conflict between Torvald and
Nora causing them to fight. After Torvald thinks about what Nora means to him and thinks it over,
he forgives her, but Nora

The Dramatic Significance of Sick Characters in Ola...
THE DRAMATIC SIGNIFICANCE OF SICK CHARACTERS IN OLA ROTIMI'S PLAYS Odia
Clement Eloghosa ABSTRACT In this paper, the sick characters are studied through the
examination of their dramatic significance and contributions to the development of Ola Rotimi's
drama. Three aspects of dramatic significance are identified in this paper and we argue that the sick:
(1) act as witness and help the healthy establish truth, (2) create crisis situations that stir up diverse
emotions in the audience, and finally, (3) heighten dramatic tension which boosts the degree of
suspense in the plays. I INTRODUCTION The paper examines the dramatic significance of sick
characters in Ola Rotimi's plays. It covers four of Rotimi's ... Show more content on Helpwriting.net
...
He identifies collectivist consciousness as the defining factor which crystallizes Rotimi's
advancement of themes like solidarity, followership and self–sufficiency. Femi Osofisan, Toyin
Akinosho, Umukoro et al and Effiok Uwatt have made cursory remarks on Rotimi's use of sick
characters and these are worth reviewing here. Osofisan, examining the political imperative in
African dramaturgy and theatre practice, makes some passing comments on the sick in Hopes, a play
he considers as belonging to "the tradition of socialist theatre" and posits that the aim of the sick in
that play is to teach "our masses the virtue of collective struggle, the irrelevance of tribal differences
in face of common economic exploitation and the possibility of heroism among the poor and down
trodden" (5). On his part, Akinosho, reviewing the performance of Rasheed Gbadamosi's Behold My
Redeemer, a play directed by Ola Rotimi, and which has a psychiatric setting, makes brief
comments on Rotimi's portrayal of sick characters. He says, "As director and playwright, Ola Rotimi
is known for using the sick to portray the Nigerian Society" (11). He adds that in Our Husband, the
playwright uses the sick to paint "the Nigerian politician as a mad power seeker". Umukoro et al,
examining the major events in The Gods, briefly interpret the use of sickness in the play thus, "The
only real significance

Cosi by Louis Nowra
How does Nowra use the opera Cosi fan Tutte to explore the play's main ideas?
Set in a typical mental asylum in the 1970's during the anti–Vietnam War protests and the feminist
movement for women's equal rights, the play 'Cosi' by Louis Nowra deeply explores the themes of
love and fidelity, in a society predominantly concerned with war and politics. Throughout the play,
Nowra uses the play within a play, 'Cosi Fan Tutte', to convey his key values regarding the
importance of love and fidelity in today's world, while questioning the necessity of war and
condemning society's perceptions of madness itself. The playwright delivers these messages through
a number of subtle implications and symbolic features which are evident in the story, ... Show more
content on Helpwriting.net ...
This very much represents the physical crossing from the 'normal' world into a world which is not
seen from the outside, and pushed to the edge of society, and further resembles a glimpse of hope for
the patients' recovery. In the later scenes of the play, during the performance of Mozart's opera, the
entire theatre has been transformed into something completely different, with its white walls, the
bright, colourful costumes, and Mozart's "music of the spheres" echoing within the once dark and
dismal place. The new theatre in all its splendour metaphorically resembles the transformations of
the characters themselves, and from this, the audience is encouraged to realise the significance and
therapeutic nature of art, in this case theatre and music: "the music of this opera will keep the world
in harmony", especially in contrast to hopeless treatments such as shock therapy. Through his play,
Nowra also encourages the audience to agree with his personal view that war is unnecessary, and in
a way is a kind of madness itself, due to its chaotic and uncontrollable nature.
Through 'Cosi Fan Tutte', Nowra also focuses on highlighting the inconsistencies and injustices
within the mental health system, through the use of dark humour and cynical depictions of mental
asylums and their preferred methods

Distinctly Visual: Shoe Horn Sonata & Supplementary Text
The distinctly visual leads us to think about significant issues in our world. Do you agree? In your
response make detailed reference to distinctly visual qualities of The Shoe–Horn Sonata and ONE
other text of your choosing. Many composers use various techniques in which they communicate the
distinctly visual. John Misto's 'The Shoe–Horn Sonata' and Alexander Kimel's 'The Action in the
Ghetto of Rohatyn, March 1942' represent significant issues in our world by using various literary
and dramatic techniques. Through using these techniques it is evident that the composers of these
texts allow the audience to 'see' with our eyes as well as with our minds. The many literary and
dramatic techniques have the ability to create a visual that ... Show more content on Helpwriting.net
...
In Act 1, Scene 1, Sheila and Bridie explain "Fifty voices set us free. Fifty voices and a shoe horn..."
This orchestra created by Miss Dryburgh gave the women hope and by working together as a group
they were able to forget the oppression of the camp, even if it was temporarily. Misto also uses
symbolism to represent music. "But we sang our... so the camp would know that there was still
music left." During the darkest time in the war, the only thing they had left was music. This gave
every prisoner a glimpse of hope; it was their way of expressing their escape from the war although
it was momentarily. Misto uses the technique of motifs and symbolism for music to give the
audience a clear visual that there is still hope when there is suffering in the world. 'The Action in the
Ghetto' is a poem based on the perspective of a holocaust survivor. Kimel re–tells the horrors that he
had survived during the holocaust. Kimel uses various literary techniques to create a visual for the
audience to 'see' his experience. Kimel describes the visual of 'the hunt' as "the creation of hell." He
uses this metaphor to describe the soldiers and their true nature. Kimel then goes on describing the
Nazi soldiers as "enjoying the hunt." Kimel's perception of the Nazi soldiers was that they found the
hunt to be fun which provides insight into the

Greek Theatre And Modern Theatre
Without a doubt, the Greek theatre remains one of the most recognized and distinctive works in the
world. While we associate many features of modern theatre with their Greek counterparts, ancient
theatre was a very different animal. You will be surprised at how much Ancient Greece has
influenced us today. Without such topics such as drama, democracy and the Olympics coming from
Ancient Greece, sport would not be important. Drama was a huge part of ancient Greece. Theatre
then became extremely popular performed everywhere including festivals. Greek Tragedy and
Comedy was significantly important as not only did it provide entertainment for the ancient Greeks,
but has continued to influence society today, inspiring us to create similar styles of theatre into
contemporary plays today. Within this essay I hope to show how these ancient plays have
transitioned into our modern theatre, and how directors today have morphed them into relevant and
relatable productions. M Cartwright wrote sources which provides us with information on both
Greek Comedy and Tragedy. In the 6th century BCE, Greek tragedy played an important and
influential role in theatre. The popular form of drama was performed all over Greece. The most
well–known playwrights have come from Greek tragedy such as Sophocles, and Euripides whose
plays remained recognised, and continued to be performed for years after their original premiere.
Comedy was also a popular type of theatre in the late 6th century. "The most famous playwrights of
the genre were Aristophanes and Menander and their works, and those of their contemporaries,
poked fun at politicians, philosophers, and fellow artists." (Cartwright 2017). The source informed
me the first appearance of Comedy, pottery in the 6th century, used for decoration, often portrayed
"actors dressed as horses, satyrs, and dancers in exaggerated costumes." (Cartwright 2017). Poetry
was also another early source of comedy. Archilochus and Hipponax were Greek poets whose satyr
works used crude and sexual humour. Cartwright explained in his source that these plays were
performed at the City of Dionysia and the Lenaea which were major religious festivals. Over the
course of the festivals, comedies were

Drama Therapy Research Paper
I was having a Les Misérables kindof day. My monolog from Rent was perfectly rehearsed for the
role of greeter/seater/environment creator at Applebee's. But, it's a hard knock life for a Drama
Major trying to find what is so disdainfully referred to as "a real job." I Googled Drama + Job +
frowning face + Andrea and suddenly, my favorite word caught my eye: Audition. NYU.edu caused
me to double take, double tap, then double click to reveal the audition "involves discussion of the
student's educational and professional background, blah, blah, blah and knowledge about the
profession of Drama Therapy." I felt as ditzy as Zaneeta Shinn in The Music Man. I don't know
anything about Drama Therapy... except that one causes a need for the other. Ye Gads! ... Show more
content on Helpwriting.net ...
Additionally, the July 19, 2010 Newsweek states that current American students are not as creative
as past generations. Psychodrama fosters creativity by encouraging experimentation, the kind
without your hands down your pants. Drama therapy is not only a successful tool for teaching
children; it has also been used with criminals. The February 2011 Arts & Psychotherapy Journal
discussed the implementation of drama therapy with incarcerated offenders, which has improved
impulse control, compliance with rules, and coping skills. Corcoran State Prison began using drama
therapy on mass murderer Charles Manson and have seen so much improvement, his life sentence
has been reduced! No, not really, drama therapy is good, but it's not THAT good! What drama
therapy has been shown to do is develop empathy to help criminals acknowledge their actions and,
hopefully, prevent future crimes. Like the criminal offense of producing Spiderman the Musical "A
freak like me needs company" Really? Let's fly over to the Implications of Drama Therapy. [shoot
fake web and "fly" across

The Orgins of Greek Theatre
There is no denying the fact that theatre is truly a link between all civilizations it comes in many
forms spiritual rituals, storytelling, hymns, odes, and performances. It has been utilized during the
many downfalls of civilizations as a means of communication and was truly shaped by the Greeks.
The origins of theatre can be traced back to the Greeks as a religious ritual to their gods, to their
implementations of the technical aspects of theatre, through their plays and also through the actual
stages that they constructed. These aspects have proven to have a lasting effect even into todays
society and without the Greeks influence on theatre, theatre as we know it, would cease to exist
(Schanker and Ommanney 298). The origins of Greek ... Show more content on Helpwriting.net ...
Satyrs were intended to cheer up the audience through its crude and funny subject matter and by
ridiculeing human lewdness, societal views and had the goal of changing something through
mockery. The term satyr actually derived from the mythical creatures Satyrs who were half beast
half human and were known for displaying vulgar characteristics driven by drinking, food, erotic
tendencies and money (Crawford, Hurst and Lugering). Comedy was not actually supported by the
state until 486 B.C.E. and was most profoundly known by the playwright Aristophanes that
produced the only comedy play that has survived through this genre. Comedies typically involved
singing and dancing, the same lewd subject matter displayed in satyres and the characters within
comedies were typically from a lower class than the characters within tragedies. Aristophanes was
known for giving the characters within his plays characteristics that focused on "a single obsessive
dimension of human character and turned it into stereotype or caricature" (Crawford, Hurst and
Lugering 114). *two more sentences The Greeks also made monumental advancements in regards to
the technical aspects of theatre; they utilized costumes, masks, lighting, movements and voices of
the actors to enhance their performances. . Although much of the information on costumes worn in
Greek tragedies has been lost or destroyed pottery from the Greeks has offered the

The Tragic Heroes Of Hamlet And Oedipus
The Tragic Heroes Hamlet and Oedipus
A hero in a drama is the focus point throughout the story, someone who technically saves life's and
carries pride within them. In Hamlet by Shakespeare and Oedipus Rex by Sophocles they simply
create a tragic hero due to their stories having a twist in what a hero turns out to be at the end of the
dramatic stories. They have similar issues as well as they have their differences in their stories.
Shakespeare and Sophocles create a similar touch to their dramatic heroes, and not only do they
write those type of stories but they also create different characteristics to them and defining them in
other ways that can be entertaining. Even though in both Hamlet, and Oedipus contain tragic
endings, both main characters were viewed as heroes at one point in the story, however the authors
did not create a same character each main character has their own characteristics and each author
had their way of writing a drama. Shakespeare and Sophocles wrote different things and as well as
Shakespeare is known for his poems, he is also known for his dramatic stories with a tragic ending.
Hamlet, the son of a king, happens to lose his father while in a short amount of time his mother
marries his uncle, the brother of the king of Denmark. While Hamlet is trying to figure out
everything, the ghost of his father happens to appear, and it tells him that his uncle the current king
of Denmark is the one that caused his death. As crazy as it sounds, it is true, his

He is Staring at Me
"Grant Morgan is staring at you." Della whispers to me as we sit in Economics class the next day.
"Then you stop staring or else he's going to see you." I whisper back. "Okay fine." She focuses back
on her textbook. "Is he still staring?" I asked a minute later. "I thought you didn't want to know." She
teased me. "Just check!" I see her glance behind me once again. "Yup. He's still staring." The bell
rings for class change and I gather my stuff and walk out the door with Della still gushing about
Grant staring at me when I hear someone call my name. Grant pushes his way out the classroom
before stopping in front of me. "Hey Skye." "Hey Grant." I smile. "How's your day going so far?"
"Pretty good. Yours?" "Good," He answers. "Are you going to Priscilla's party tonight?" He asks.
"Um, I didn't really think about it much. Why?" "I was just wondering if you wanted to go. We
could hang out if you like." "Della and I kinda made a promise not to go to any parties alone." I told
him. "Della?" Grant stared at my best friend expectantly. "You know I never say no to a party."
Della beams at him. "Great." Grant is smiling, showing off his Colgate smile. "So I'll see you then?"
I nod my head. "Yeah." Just then the warning bell rings. "I'll see you later." "Bye." I wave and watch
him walk off. Della is gushing about of cute of a couple Jake and I would be when we meet up with
Travis and Jake in lunch. Della gives Travis a full on kiss which causes Jake and I to share a look.
We didn't

Contemporary American Poetry and Its Public Worlds Essay
But who has the will to concern himself with such dangerous maybes? For that, one really has to to
wait for the advent of a new species of philosophers, such as somehow another and converse taste
and propensity from those we have known so far––philosophers of the dangerous "maybe" in every
sense.
(Friedrich Nietzsche, Beyond Good and Evil, sec 2.)
This will not be one more lament for the sad state of contemporary American poetry. Yet to define
some of the basic strengths of new work I have to begin with what seems like a lament. For perhaps
the most important invigorating element for contemporaries is a widespread dissatisfaction with
what is called romantic lyricism, poetry based on the dramatization of intense subjective states ...
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For poetry to achieve cultural currency, in both senses of that term, it may have to find ways of
reconciling the energies of romantic lyricism to overtly rhetorical ambitions and strategies.
It will take me a long time to get to those ambitions because I first have to clarify plausible ways of
using the concept of poetry's relations to a public world, and then I have to use that discussion in
order to dramatize the problems of mediated culture that demand those new strategies. Criticism
now seems divided between two basic understandings of how poets can evade romantic lyricism and
directly address public worlds. The first is fundamentally agenda–based. Here poetry's relation to
the public world consists in its efforts to offer timely statement or testimony responding to pressing
social issues, usually as an effort to represent the interests of a specific community. The second
option forgoes this emphasis on specific thematic concerns in order to stress instead the overall
stances that poets develop. From this perspective it matters less what you say than how you manage
to cultivate an ethos that is perceived as representing the

The Ethics Of Group Counseling
Ethics in Group Counseling According to the American Counseling Association (ACA, 2014) Code
of Ethics, ethical principles are based on a set of values that include autonomy, nonmaleficence,
beneficence, justice, fidelity, and veracity. These ethics apply to all types of counseling, including
both group and individual therapy; however, different aspects of these ethical guidelines must be
considered based on the therapeutic approach. This paper will identify several of these ethical issues
as they relate specifically to group counseling, while also evaluating how these differences compare
to ethical guidelines within an individual approach. Based on this information, a final analysis will
be provided on when therapists should choose group versus individual for a client.
Identifying Ethical Issues in Group Counseling
According to the American Counseling Association (2014) Code of Ethics, ethical principles are
based on a set of values that include autonomy, nonmaleficence, beneficence, justice, fidelity, and
veracity. As an editor with International Journal of Group Psychotherapy, Virginia Brabender (2006)
further clarifies these principles as they relate to group therapy through focusing on four of these
values: beneficence, nonmaleficence, respect for autonomy, and fidelity.
Beneficence and Nonmaleficence Beneficence is a caregiver's responsibility to promote work that
will benefit the welfare of the client, while also preventing or removing harm. For

William Shakespeare 's Romeo And Juliet
Go up to just about any literary scholar and ask them the simple question of, who is the greatest
writer known to the planet. Many will respond with a likely sarcastic response, but tell you of the
man known as William Shakespeare. He's most popular for his drama play called Romeo and Juliet,
but holds credentials in the literary department for much more than that. He's written dozens of
plays, many dramas such as MacBeth and Hamlet, with some noteworthy comedies for the time
period like Much Ado about Nothing and A Midsummer 's Night Dream. While some of his plays
have straightforward storylines and the title is extremely revealing about the characters and meaning
of the play, other titles are more vague and hidden to the unexamining eye. One title that is noticed
for having this effect of being vague to its reader is the dark comedy called Measure by Measure.
There are many reasons and theories speculated upon the selection process for Shakespeare's
theatrical titles, but there is no definitive method for each of them. Shakespeare named his dark
comedy play Measure for Measure for the small details in social, emotional, and ironic encounters
that lead to the play's ultimate climax. There are multiple social encounters throughout the play that
entice and explain the shows title in character interactions. The play surrounds the actions of four
main characters being Isabella, Angelo, the Duke of Vienna, and Claudio. The social interactions of
the story are highly detailed in

I Believe My Art Is Better Than All Of Yours
One stormy night, in a modern day London, four artists were having dinner within an old English
pub. The artists were sitting around a table close to a window beaten with rain. Each of the artists
are eating a large platter of fish and chips while drinking a few pints of English stout. The artist with
his back to the wall, Xia Gui, was a Chinese landscape artist. Most known for painting landscapes of
mountains and streams. Sitting to his left, with her back to the window, is Agnes Denes, an earth
works artist. Most known for Wheatfield in Manhattan, New York. Sitting to Agnes' left is the
Romantic Artist J.M.W Turner. Most known for his painting Snowstorm. The artist to his left is the
French Baroque Nicolas Poussin, he would use dark and intense colors to support the drama of a
specific situation. Most known for The Massacre of Innocents. Everything was calm at the table
until Poussin said in a drunken rage "I believe my art is better than all of yours' because I show the
true drama between men." Turner replied "your art only shows the pity drama between men, while I
show the drama between nature to create a message to the viewer." Agnes butted in and said "even
though I don't convey drama, I use the earth to create my art." As Agnes finished her rebuttal to the
blunt statements of the drama queens in the group Xia rebuttable "You people don't know what it
takes to make so elegant brush strokes and how to convey the simplicity in nature." As Xia finished
his statement

Television And Reality Television Shows Essay
The media as a whole has been a huge impact on their viewers' lives. People do not just watch a
television show, they tend to normalize the characters and their roles into their day to day lives.
When analyzing the media and focusing on drama and reality television shows, the impact that these
shows have on some of their women viewers are noticeable. Television drama shows are fictions
that the average person can relate to. They are made with real life problems that people can
sympathize with. Television dramas have become the newest therapy to people. People go to these
over dramatized shows for the answer to their problems. Most tend to forget that these are fictional
television shows, meaning they are made up characters with false problems. These shows tend to
show women as the house wife, pretty and skinny, and powerful but weak minded. When looking at
reality television although it is unscripted and tend to be real life situations, producers do pick out
cast that are not relatable to and unlike the average person. On television dramas and reality shows
men tend to be shown as dominating women in relationships, as women are shown as the men's
"trophy." Also, as a whole television dramas and reality shows show women as "sexy" figures,
emotionally unstable, and less than a man which effects their everyday lives. Television dramas and
reality shows has a negative effect on female views by showing them in a negative light.
Since women made an appearance on television shows,

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

Mindfulness And Drama Therapy Association
Mindfulness and Drama Jashuko Kwong–Roshi states that "original mindfulness is the actualization
of humanity's inherent basic goodness, it is creatively joined with the new therapies and offers a
stream of helping and compassionate services for something very old (Rappaport, 2013, p.1). The
North American Drama Therapy Association defines drama as the "intentional use of drama, and or
theater process to achieve therapeutic goals (North American Drama Association, 2016). Drama
therapy is both experiential and active, this particular approach to therapy can provide the context
for the participants to tell their stories, set goals, solve problems, express feelings or achieve
catharsis "unlike talk therapy, drama therapy gets there at a rapid pace. Role playing, which allows
one to act out issues and problems is reportedly more effective than talking (Landy, 2016).
Mindfulness Meditation serves as a compliment to drama therapy, and many of the skills sets and
approaches that are developed through the form of art can actually be utilized in everyday life. Skills
such as concentration, acceptance, openness, and loving–kindness are each contributors to the body
of drama therapy work as well as the overall effectiveness of the therapy (Rappaport, 2013, p. 27).
Mindfulness can be used as a tool that can not only be used in therapy, but in the classroom as well.
Drama games and storytelling has been utilized within the classrooms of schools to aid young

The Summer Ma Program For Theatre Educators
Before I had applied for the Summer MA program for theatre educators, I knew my teaching of
dramaturgy was lacking. I had no systematic way of analyzing a script and being able to pull out the
important aspects of the author's intentions. Many aspects of theatre history and dramatic
interpretation had been left out of my education. After classes my appetite had been wetted, I
purchased a number of books to continue my education over the winter break, one of the books was
"History of the Theatre 10th Edition" by Oscar G. Brockett and Franklin J. Hildy. Even though an
overview of some much history it has lead me to want to teach so much deeper lessons to my
students. After the eye–opening dramaturgy classes my mind has been washed with ideas on how to
proceed, so much information had been given to us, I find it hard to concentrate on a single area. I
truly look forward to teaching this year and these lessons. My first desire is to come at this with the
outcome in mind, I had wanted to compete in the state UIL design competition since becoming a
theatre teacher but wasn't sure where to begin. I had previously decided to turn my second year
classes into the more theory related area of the field of study, but wasn't sure how to proceed. I knew
I wanted to focus more on the higher of Bloom's domains of learning, specifically creating. With the
final goal in mind of competing in UIL design completion, I started devising a plan to educate my
students in the skills required

The Greek Of Greek Tragedy
Luke Allis, Greek Theatre
Ancient Greek tragedy is still relevant today because the themes and issues expressed within it are
still present in the 21st century such as undeserved suffering, death and relationships. The greeks
produced many great works of art and theatre as well as revolutionising politics, ethics, aesthetics
and philosophy with philosophers such as Plato and Aristotle and their theories such as their theories
on form and Catharsis.
Many people suggest that modern day theatre and performance is derived directly from Ancient
Greek Theatre and Myths. Just life we do with politics, ethics, aesthetics and philosophy look to the
greeks as the founders and while it is possible that this is true this itself is also a myth. The ancient
greek empire ended almost 150 years BC, about 2066 years ago. In that time a lot of information
regarding it and it's theatre has been lost or distorted (such as the destruction of The Library Of
Alexandria) and thus we can't be certain that the information is 100% correct which means that this
itself is a myth, we have evidence that points towards theatre originating from Ancient Greece but
we can't be certain because there is also evidence pointing toward it originating from various other
cultures from around the world such as the Egyptian Coronation Festival Play 3100 BC (History of
theatre timeline, Glencoe.com) or primitive tribal dances and religious rituals dating even earlier
than that.
As mentioned previously other

Argumentative Essay On Theatre And Education
People define theatre as an escape from reality. A place where one could just sit in the dark and
watch a fairytale come to life before his very eyes. Theatre and live performance is pastime that has
been a part of our culture for thousands of years. Unfortunately there has been a decline in the use of
arts in all aspects as people feel that they are unnecessary. Theatre can benefit the human race.
Incorporating arts into the classroom, whether as a subject itself or integrating it into the curriculum,
is increasingly being accepted as a vital part of being successful in school. Yet, this study is slowly
and quietly disappearing. In schools across the country, students are losing opportunities to
participate in creative outlets as a result of budget cuts. In May 2005, a poll commissioned by the
Americans for the Arts, 93 percent agreed that the arts are vital to providing a well–rounded
education for the children. 79 percent agree ... Show more content on Helpwriting.net ...
According to the American Alliance for Theatre and Education (AATE), "Students involved in
drama performance coursework or experience outscored non–arts students on the 2005 SAT by an
average of 65 points in the verbal component and 34 points in the math component" (Effects of
Theatre Education). The SAT is one of the most commonly test used by universities and colleges in
admission. It assesses students' reading, writing, and math comprehension and is described as a
standardized measure of college readiness. Nearly half of the nation's three million high school
graduates in 2005 took the SAT. Then the students who have done arts and theatre were compared to
those who did not. The results showed that the more art classes one took, the higher the score was.
Students who took four years of arts out did others who had a half year or less of the arts by 58
points on the verbal portion and 38 points on the math portion of the SAT (Ruppert

Top 10 Acting Schools of the World
Ina highly competitive profession like acting , one must never underestimate the importance of
professional and formal training. Irrespective of whether you excel or have a unique flair in this art ,
there are a variety of techniques , perspectives , methods etc that could help you when you embark
into theatre and films. While training to become an an actor doesn't necessarily require a degree
from a college or professional learning, many of the best actors in world cinema have grown to be
well rounded and highly benefitted from their professional courses. The whole concept of acting will
usually comprise of 2/3rd natural talent and 1/3rd of training Also the physical location of the place
is crucial because it determines the connections ... Show more content on Helpwriting.net ...
They have acting showcases held in places such as Glasgow and London and this provide you with
an opportunity to showcase your talent to leading casting directors and agents. They provide both
bachelors and masters in this field to aspiring actors and actresses .They also have summer schools
and short courses in drama for children, young people, adults and arts professionals. It has an
impressive alumni profile such as Alan Cumming, James McAvoy, and David Tennant etc
The Centre
City Centre
Glasgow G2 3DB
Scotland, United Kingdom.
NYU Tisch School of arts
The Tisch School of Arts that come under New York University is the most esteemed centre for
performing arts in the USA.Situated in the theatre capital of America; it provides technical,
professional and practical training to students in its discipline. The Department of Drama offers a
four–year undergraduate course and the graduate acting programme offers a Master in Fine Arts
degree however it is extremely difficult to be inducted into the latter programme ( as they take in
only 18 students ) . Its famous alumni consists of Whoopi Goldberg, Angelina Jolie, Alec Baldwin,
Anne Hathaway and Adam Sandler
NYU Tisch School of the Arts
721 Broadway New York, NY 10003.
Guildhall school
Founded in 1800 in England, the Guildhall school of Music and Drama provides a BA and an MA in
acting. Owned and funded by the Corporation of London, the school is well known for its

Lady Wynmere's Fan by Oscar Wylde
Change. No one wants to accept it; no one wants to live with it. Why is it? Is it because we lack the
willingness to change ourselves or is it because we don't want it? None of it, it is mainly because we
fear change. But the fact is we can't stop it from happening. We either adapt to change, or we get left
behind. But here's the fun fact: Sometimes, the more things change, the more they stay the same.
And sometimes, change is excellent. Sometimes, change is everything we want. Its funny how
things appear the same every passing day but when we look back, many things have changed! To
perform a Greek drama we need three things; they are audience, performers and something to
perform. I must exclaim that it is the same with modern theatre. All the three elements are required
today also. So does it means nothing has changed in past twenty five hundred years? I don't think so.
From presentation of a particular subject to the elitism in the drama, everything has changed over
period of time.
I choose to write about the transformation in status of women from Greek drama to Victorian Era
because it is a form of triumph. Along with progress in field of science and technology, the
inevitable revolution in the field of literature shouldn't be disregarded. In Prometheus Bound, the
character of Io is very destitute and desolated. Where as, Mrs. Erlynne is portrayed as an
autonomous and liberated woman. It's not the drama that has strained the writers to inscribe
particular response for the

Educational drama in education
Educational drama in education for sustainable development: ecopedagogy in action
he research on which this paper is based is a response to the UNESCO directive for the Decade of
Education for Sustainable Development (ESD) 2005–2014. Educators are advised to prepare young
people for sustainable development and global citizenship and the Arts should be included in
programmes in ESD. This paper presents an overview of a research project based on the hypothesis
that educational drama might be a useful medium for teaching and learning in environmental,
sustainable development and global citizenship education. Central to the project, an ethnographic
case study employing a multi‐case approach, based on three research questions, was a series ...
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Its goal is to 'encourage changes in behaviour that will create a more sustainable future in terms of
environmental integrity, economic viability, and a just society for present and future generations'
(UNESCO 2005) and to help young people to become 'global citizens' (UNESCO 2006). In
response, the Scottish Government (SDELG 2006) recommends that education for sustainable
development should offer young people opportunities to practise and develop:
sensitivity to and appreciation of the social and natural environment;
some factual understanding of environmental and social problems and issues;
knowledge/understanding of the social environment;
skills to find out about and explore environmental issues;
civic skills to influence decision‐making in society;
researching and communicating information about one 's own environment;
improving one 's own environment: acting responsibly; and
critical reflection on the quality of environmental developments.
Educators are challenged to find interesting and meaningful ways of helping young people to
develop the knowledge, skills and values they will need to become actively involved in building a
more sustainable future. UNESCO states that drama can be part of the teaching and learning
process. This paper sets out the results of a research project the aim of which was to discover if the

The Holy Theatre By Peter Brook
The Holy Theatre
Here I will put forward ,with pond skater like depth ,my musings on the alchemist , anti guru, rebel,
theatrical royalist and acknowledged genius of modern theatre Peter Brook's fabled hand grenade of
a 60's essay The Holy Theatre
The concept of the Holy Theatre comes from Peter Brook 's the Empty Space, in which he separates
theatre into four testaments: Deadly, Holy, Rough, and Immediate Though these lines between said
factions blur, overlap and interplay at any given time.
Still held up by many to be The holy grail of theatre texts , sacred in many quarters. The Holy
Theatre section attempts to rediscover ritual and the spritual aspects of drama, a revaluation of a lost
sense of euphoric communion. The notion of 'Holy' is allowed to mean an (artistic) attempt to reach
essences that are neither only physical nor even mental. Peter Brook defines it as "the Theatre of the
Invisible – Made – Visible."
"holy" should be imagined as a way of seeing theatre: creating and attending theatre as if it were a
holy rite, a communal passage into the mysteries of life, rather than a vehicle for solely
entertainment or intellectual debate
Though, Brook insists, reality itself must be the goal . The "invisible" is an act of communication
between actor and audience produced out of the need to impart some emotion. The audience may
not consciously acknowledge the fact that they are being moved by the emotion, yet they are still
moved: the invisible. Brook says "it is like

Human Nature In Shakespeare's Much Ado About Nothing
Human nature is often considered in isolation from the rest of the world as if it would be an
exception or a special case. In Shakespeare's Much Ado about Nothing, the complexities of human
nature are explored in depth. This essay will explore in particular how Shakespeare dramatises the
concepts of human misunderstandings, deception and dichotomy through effective dramatic
techniques.
Shakespeare has demonstrated the ramifications of human nature that have arisen through the
misunderstandings of the characters. Shakespeare does this by effectively conveying the dramatic
technique reversal. The purpose of the technique is to show the reader the complexities of human
nature by demonstrating that even a common example of misunderstanding could change the
direction of one's life, and the perception of an object. This is evident through the quote "That I love
her, I feel" in Act 1 scene 1, said by Claudio about Hero, which is later contradicted with the quote
"There, Leonato, take her back again. Give not this rotten orange to your friend", who is referencing
Claudio's betrayal. Claudio believed that the person Borachio was making love to was Hero instead
of Margaret, due to the succession of Don John's master plan. During this scene, Claudio displays a
sense of misunderstanding by falsely concluding that his fiancée had been 'unfaithful' to him.
Reversal is shown when Claudio is enraged by the fictitious actions of Hero when he abandons her
at the day of their wedding. Shakespeare has demonstrated misunderstanding through the dramatic
technique, reversal to explore the complexities of human nature.
Shakespeare has further represented the concept of misunderstanding through the dramatic
technique parody. The purpose of parody is to project the complexities of human nature by
forecasting the concept of misunderstanding and how the stupidity of one, could impact the
conceptual thoughts of a character or characters. This is evident through the quote: "the Prince
discovered to Claudio that he loved my niece your daughter and meant to acknowledge it this night
in a dance, and if he found her accordant, he meant to take the present time by the top and instantly
break with you of it" in Act 1 scene 2 said by

How Did Elizabethan Theater Affect Popular Entertainment?
How did Elizabethan theater affect popular entertainment? It affected popular entertainment
massively at the time because it was very different than anything that had been popular
entertainment before it and because even though it was popular it attracted a lot of criticism from the
English Society. It came about in a time when drama shifted from religious to a secular function in
society. The Elizabethan Theater lasted from the end of the 16th century and well into the 17th
century. And it set out the stage for some actors very well–known even today. From the violence that
was prevalent because of the Black Death, people turned to the theater for many reasons.
Elizabethan theatre was popular for its time because Queen Elizabeth encouraged the arts, it was
somewhere for every social class to go, and people could relate to the plays. One of the reasons that
Elizabethan theatre was so popular was that it was enjoyed by Queen Elizabeth herself. Elizabeth
loved learning new things. She would read and study for hours at a time. She also had a lot of
knowledge when it came to history. She could read books in Latin and French. When she grew
older, she could translate classic works into English. She also enjoyed writing and reading poetry,
and a few of her poems still exist today. Elizabeth was also into arts and literature. She loved
watching plays and dramatic performances. "She hired her own company of actors called "The
Queen's Players." The art spread because of the queen. Her

A Comparison Of The Short Story 'The Monkey's Paw, By...
W. W. Jacobs wrote the short story "The Monkey's Paw" in 1902. A great number of adaptations of
the story have since been created using different forms of media. The two which are being compared
here are the play adaptation The Monkey's Paw dramatized by Mara Rockliff and the 2011 film
version The Monkey's Paw by Ricky Lewis Jr. Both the play and film feature the White family
receiving a monkey's paw by which three wishes may be granted. The paw had a spell put on it by a
holy man who wanted to show that fate rules people's lives and that if people try to interfere, they
will be sorry. The main differences between the play and the film are that film gives more
background information about how and why the paw was obtained, uses more ... Show more content
on Helpwriting.net ...
This setting does not convey the same feeling danger or foreshadowing of trouble to come. The
viewer may question in the play version why Morris would proceed with making wishes upon the
paw after stating that the first owner had wished for death. The information given through the film
of Morris seeking out the fakir in order to change his bad fortunes and being the person who
requested a spell be placed to grant wishes plants the seed for the viewer that Morris may have
already been in a desperate situation and therefore the viewer can more easily accept that he would
wish upon it. As the plot in both adaptations develop, Morris' visit to the White's home is portrayed
differently. The use of alcohol in the film prior to Morris displaying the paw to the family could be
interpreted as an action taken only after his wits have been inhibited. The film uses flash backs to
dramatize the power of the paw when it is mentioned during the conversation with the White family.
The potential harm that can be caused by the paw is better expressed in the Lewis film version by
Morris when he is asked why he kept it he stated that, "he kept it to guard it". He never allows any
of the family to handle the paw and it is not until Mr. White takes it away from him as he is
attempting to throw it in the fire. At the end of the evening when Morris was leaving he tries to get
Mr.

The Tragedy Of Socrates As A Tragic Hero
In the era of the Enlightenment, many philosophers were creating their own understanding of how
the individuals of society function and the purpose of existence; one of these philosophers was
Socrates. Spending majority of his life in Athens, Socrates exercised his freedom of speech, for
which, he had vocalized his opinions to the people of Athens of the authority of the government and
whether if the they are suitable to help society function in a positive light (Brumbaugh 230).
However, in the development of government, the conservative government of Athens charged
Socrates with religious treason and the corruption of the youth of Athens (Brumbaugh 228). During
the trial, Socrates personally defended himself in court with a jury of over ... Show more content on
Helpwriting.net ...
In an example of his dramatic writing, Plato emphasizes on the portrayal of Socrates addressment to
the jury before they conclude their verdict on the case, in which, Socrates says:
From me you will hear the whole truth, though not, by Zeus, gentlemen, expressed in embroidered
and stylized phrases like theirs, but things spoken at random and expressed in the first words that
come to mind, for I put my trust in the justice of wat I say, and let none of you expect anything else.
(Cooper 21)
Although this is a small portion of the speech, Socrates bases his speech on the truth, in which, he
does not try to deceive the jury into believing that he is an ignorant philosopher, but that his beliefs
are indifferent than those of the society and that punishing him on those terms is an injustice. This
creates a sympathetic connection to the audience as Plato shows that Socrates was not malicious or
in any form had dramatic reaction from the trial as he was acceptance of his fate, in which, the jury
would decide and only asked that they would take his truthful speech into consideration while
voting on the verdict. With the continuation of the aspect that Plato dramatized the trial of Socrates
to form am emotional connection with the audience, giving context of Socrates' life adds to

Social Issues In Rent And The Laramie Project
"Social Issues in Theatre"
How has theatre reflected social issues throughout time?
Olivia Little
W.B. Ray High School
Candidate Number: 006241–0009
Session: May 2015
Category: Theatre
Supervisor: Mr. James Stroud
Word Count: 3,092
Citation Style: MLA
Abstract How has theatre reflected social issues throughout time? This reflection can be seen in
works such as Frank Wedekind's Spring Awakening, Jonathan Larson's Rent, and Moisés Kaufman's
The Laramie Project. Spanning from 1891 to 2000, each reflects a social issue regarding sexual
education and acceptance over time. Wedekind's deals with the lack of sexual education and
sexually oppressive culture of the 1800's, Larson's illustrates with the effects of the AIDS crisis, and
Kaufman's ... Show more content on Helpwriting.net ...
The piece itself takes interviews of those from the town of Laramie and brings their voices on the
tragedy to light, showing the deeper impact of a hate crime like this to the forefront. The goal of the
play is to illustrate the pain associated with acts of hate such as this and the wrongdoing that
occurred in order to prevent other events like the tragedy surrounding Matthew Shepard. This is a
social issue still relevant to this day, with many in the LGBTQIA+ (lesbian, gay, bisexual, trans,
queer, intersex, and asexual) community suffering from violent acts of hate on a regular

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