Kimball King's Western Drama through the Ages Two Volumes : A Student PDF
By Kimball King
The West has a protracted and wealthy dramatic culture, and its dramatic works generally replicate the social and political matters of playwrights and spectators. This publication surveys the Western dramatic culture from old Greece to fashionable the US. incorporated are chapters on nice eras of drama, comparable to the Renaissance; nationwide theatres, similar to the theatres of Latin the US, eire, and Poland; vital theatrical routine, corresponding to musical theatre and African American drama; and influential theatre kinds, akin to realism, expressionism, and surrealism. Entries are written by way of top experts and cite works for extra interpreting. scholars of literature and drama will savour the ebook for its handy assessment of the Western theatrical culture, whereas scholars of historical past and social reviews will welcome its illumination of alternative cultures and traditions.Designed for college kids, the publication overviews Western drama from old Greece to trendy the US. integrated are chapters on nice eras of drama, comparable to the Renaissance; nationwide theatres, comparable to the theatres of Latin the US, eire, and Poland; vital theatrical events, similar to musical theatre and African American drama; and influential theatre types, equivalent to realism, expressionism, and surrealism. each one bankruptcy is written through knowledgeable contributor and gives a longer attention of its subject and cites works for additional interpreting. scholars of drama and literature will price the ebook for its exploration of the Western theatrical culture, whereas scholars of background and social stories will welcome its illumination of alternative cultures and traditions.
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Additional resources for Western Drama through the Ages Two Volumes : A Student Reference Guide
The slaves often belonged to a single owner known as the dominus gregis (literally, the ‘‘master of the flock’’), who served as the director and producer of the drama and who might collaborate with the author or perform as the lead actor. Interestingly, in the performance of mime, women were permitted to act in female roles; consequently, these women sometimes even attained the status of starlets, much like gladiators did in the arena of combat. Of course, like her male counterparts in all forms of Roman drama (as well as gladiators), the female mime-actress was not considered a citizen but considered a low member of society, an indecent counterpart to virtuous Roman matronae (wives).
The horror with which Seneca presents the deliberations of Atreus far exceeds anything ever presented on the tragic stage. In fact, Atreus’s acts in the tragedy are so wicked that the ghost of his grandfather, the wicked Tantalus, is stirred from his sufferings in the Underworld, while the day has been blotted out, the stars obliterated from the very heavens. The impossibility of staging events of such cosmic proportions, as well as a general lack of verbal cues for stage directions in the texts, has led some scholars to believe that Seneca did not write his tragedies for production on the Roman stage, but for reading in public recitals.
C. the Athenian statesman Lycurgus successfully passed a motion to collect copies of the scripts of these three tragedians and to place them in the Athenian archives. This legislation thus marked the first step in a long historical process that has led to the survival of Aeschylus, Sophocles, and Euripides into the present day. Lycurgus not only made possible the survival of fifth century tragedy, but also the survival of the theatrical space itself, for he also built the first permanent stone theater in Athens, which can still be seen today on the northeastern slope of the Acropolis.
Western Drama through the Ages Two Volumes : A Student Reference Guide by Kimball King