A History of the Theatre (Performing Arts) by Glynne Wickham

By Glynne Wickham

During this masterly survey, Glynne Wickham outlines the improvement of drama through the global during the last 3,000 years, from its origins in primitive dance rituals the entire strategy to the very finish of the 20 th century. hugely readable, incisive and deeply imbued with a private standpoint that stresses the primacy of concert, Wickhams erudite paintings is predicated on a lifetimes functional event as a instructor, researcher director. A historical past of the Theatre is the perfect creation to the topic for all fanatics of the theatre, and an authoritative textbook for college students.

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Extra info for A History of the Theatre (Performing Arts)

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Fig. ) crisis This has produced a financial which industrial sponsorship and government sub- fallen proportionately. combined to contain. Films, television and sport, however, have also combined to make the conventions of both styles of theatre appear old-fashioned and irrelevant to the young. This is the most serious threat of all, since this is a theatre that has always depended on the active engagement of audiences in its conventions and in sidy have thus far the careers of the principal performers.

Nature cry out for recognition as forcefully as the more and in part the formal restrictions automatically imposed on these licensed occasions by limiting them to a single major festival each year. rational Of and all spiritual elements, Aristophanes' plays it is Lysistrata (first staged — where women deny sexual intercourse to their 411 bc) husbands in order to bring the war to an end which has been most frequently revived in modern times. This is undoubtedly because its theme, 'Make love, not war', has corresponded so closely with modern sentiment; but it is in — also true that this play, in containing less material extra- neous to its theme and fewer topical allusions principal than Aristophanes' other plays, is the easiest for actors to handle within stage-conventions familiar to audiences Not the least of number of good parts it today.

Only in southern Italy, and not then until the second and first centuries bc, is any evidence forthcoming of a conscientious effort to recreate in another language types of comedy and tragedy where the provision of plot, character and dialogue again became the prerogative of a dramatic poet, allowing the theatre to be regarded as an educational force within society instead imitators used these originals for purposes of adaptation, of simply as a source of entertainment. also to be copied and absorbed into the social life of the neighbouring countries stretching from Turkey and the century, Rome and the Hellenistic World, BC-AD 200 1 THE EUROPEAN HERITAGE OF ROMAN DRAMA AND THEATRE If drama the that survives to us in Latin has been generally dismissed by posterity as inferior to that obvious reason both in much that in Greek, the most Roman drama was so largely derived respect of play scripts and theatre buildings Greek models On inality.

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