agree with Herder that Romeo and Juliet is a great drama precisely because it does not follow straightly the rules established by Aristotle on drama and tragedy? According to the lecture entitled “Shakespeare” by the Johann Gottfried Herder‚ “Not a single one of Shakespeare’s plays would be a Greek Tragedy‚ Comedy‚ Pastoral‚ nor should it be…” It implies Shakespeare’s plays are totally differentnot comparable with from the one in Greek dramas‚ which Aristotle is much clearly adoredd by Aristotle
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LHE 3253 TEACHING THE LANGUAGE OF DRAMA Assignment 1 Dorothy Ting Siao Wei 153071 Dr. Habsah Bt Hussin Submission date: 19 Oct 2011 THE JEWELS OF THE SHRINE 1. One of the themes of this play is false relationship among family members. Quote the part(s) in the play where you can discern this theme. Throughout the play the theme false relationship among family members is seen. Firstly‚ it is seen in the character of Bassi. Bassi is not related to Okorie at all but is seen to be always around the
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He supposed that drama should be "dipped in the magic fountain of music" to combine the greatness of Shakespeare with that of Beethoven. Wagner was very apprehensive with the importance of a director. He thought that all elements of a production should come under the control
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Kabuki: A Japanese Form Japan ’s dances and dramas as they are seen today contain 1300 years of continuous uninterrupted history. This prodigious feat of conservation‚ theatrically speaking‚ makes Japan an extraordinary and unique country. In all of Asia‚ where tradition generally is sanctified and change eschewed‚ Japan stands as the only country whose theatre is its entirety has never suffered an eclipse nor undergone any drastic revivification or renovation. The most traditional form of
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Drama is a play that is written for theatre production. In drama the characters use direct through the voice of a narrator. The authors of dramatic pieces use dialogue to tell their story. Therefore‚ the characters in a play‚ tell the story using speech. Actors impersonate the characters by reciting the words that are written in the play. For example Maurya the main character in Riders to the Sea‚ says the closing words to her son before he left home: “You’d do right to leave that rope‚ Bartley
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helping audiences negotiate such problems as political power‚ economic justice‚ and racial inequality (Zarrilli‚ 263). “Melodramas were formed in historical eras that reassure‚ terrify‚ and propagandize the audiences today” (Zarrilli‚ 263). This type of drama also depicts the good and the evil and points it out to the audience. Melodramas often came about when there was a historical change happening. For instance‚ in fifth-century B.C.E Athens‚ in seventeenth- century England‚ and in eighteenth-century
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Lesson 1: Origins of Theatre Learning objectives: List the performance elements and understand their role in both ritual and theatre: time‚ place‚ participants (players‚ audience)‚ scenario (agenda/goal/text/rules)‚ clothing (uniform‚ costume‚ mask‚ makeup)‚ sound (speech‚ music)‚ movement (gesture‚ pantomime‚ dance)‚ and function or purpose. Can be clock or fictional time‚ places vary (designed to meet needs)‚ rituals might take place in one space or they might involve a procession with portions
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England) with strong traditions of spoken drama. What exactly does St.-Evremond (p. 201-3) object to about opera‚ and why? Exactly what parts of a drama does he say should NOT be set to music‚ and why? People observe the justness if the cincirds; and amidst all the varieties that unite to make the sweetness of the harmony‚ nothing escapes us. The music is nothing else to our ears but a confused sound that suffers nothing to be distinguished. Beginning of the drama should not be set to music. 2. What
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morals and conventions in Ibsen’s times would be a very notorious topic to discuss‚ let alone put in a play to be performed in front of hundreds of people. The play was even banned for a long time. Another factor that makes the spectacle of the drama unforgettable is the clear dramatic structure that Ibsen imposes on the action and behavior of people in the play. The structure of the play has a clear beginning‚ in which Ibsen
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sort of dramatic sequence or structure because that is not true to life. Realists embrace the desire for reality on stage‚ but also feel that dramatic structure follows the actual structure of life and structure and poetry should be integral parts of drama. Konstantin Stanislavski felt that same need for reality on the stage. He spent the majority of his life searching for how an actor can create truth on stage and‚ in doing so‚ he tapped into many of the same veins of humanity that Naturalists and
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