OPERA AND DRAMA: DIFFERING VIEWS
Opera and drama are two closely linked disciplines in the world of
performing arts; although many view these as individual aspects which
should be combined to create a greater result, others seemingly view
opera as drama although it would be seen as illogical to view drama as
opera. The mere fact opera has a narrative, although told through
music and libretto, combines the two.
Michael Tippett’s opera, The Midsummer Marriage, contains influences
from other established form’s (drawing examples for Wagner and Verdi)
as well as containing Tippett’s own futuristic ideas. Tippett writes
about the heightened style of opera and also later argues that
although this is a marvellous event, the categories of music and drama
must be coherent and specific to the desired product.
…there is a long tradition associating opera with the
marvellous… it is clear that the composer, or his librettist,
must be able to condense… [1]
This heightened style and its subsequent audience is discussed by
Joseph Kerman in Opera as Drama, who compares the style of opera to
its worth and subjectivity. Kerman recognises that ‘no distinction is
drawn publicly between works like Orfeo and The Magic Flute’[2],
describing opera as a huge umbrella with seemingly no sub-categories.
In Kerman’s book he discuses how the opera (or the musical aspect)
plays to the drama on the stage – the music is used to develop and
enhance the drama. This is demonstrate...
Throughout history there have been many poets and some have succeeded while other didn’t have the same luck. But in history e.e. Cummings has stunned people with his creativity and exposure to the real world and not living in the fantasy people imagine they live in. Cummings was a great poet, and was able to make his own way of writing while he was also involved greatly in the modernist movement. But he demonstrates all his uniqueness in all and every poem, delivering people with knowledge and making them see the world with different eyes as in the poem “Since feeling is first”.
The music and sound effects are in the same pont with what the author nedded to say in that play. In the smok and sword fight on the first act we thought will be a play where every body is confusing and fight each other. The phone ringing all the time and this help the actors to play around in the hury and action come up with rehearsal process. The purposes of the phone is any time we heart that something is going to happen, so we expectin to change the sequence in the play. Ringing the phone open a problem, hanging up the phone close the problem. Opening and shoutting the door of dressing room as a slamming it create for the audience understanding the flow of the show and leaves the flexibility as we see white and black to the performance. Crying with tears make the player dramatic, but afraid of discover which it trying to keep things together laughting and
Olive, David. "Possibilities of Performance: New Ways of Teaching Dramatic Literature." Links & Letters 2 (1995): 9-17. UAB Digital Repository of Documents. Web. 30 Mar. 2012.
Eastern Washington University Department of Music presented a program of Opera works by Giacomo Puccini, Aron Copland, W.A. Mozart, John Dowland, Franz Shubert, Maurice Ravel, and Robert Schumann on Friday, March 7, 6:30 p.m., in the Music Building, Recital Hall. These Opera works were sung by Senior Recitalist, Alexandra Rannow.
... of the outstanding country. As for other authors, the thought of America classifying itself as exceptional is shameful by the way the country actually functions. These different people have analyzed American exceptionalism through multiple literary devices all through history.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
How would feel if you were in the La Scala opera house, listening to a Vincenzo Bellini operas. Would it be warm felt or just would be nice to be there. To know that there is people out there that can sing with the power and flexibility that they can do. Vincenzo Bellini is one of the many opera composers that the nineteenth century had to offer (The National Opera Center America). Bellini like many of the composers in this time was born in Italy. During the nineteenth century, opera stories most of the time was had a theme of passion and romance. That is one of the reasons that this century is also called Romantic Era.
In this verse of the poem he is talking about how African Americans have viewed the world from Harlem and live and unjust life, how can they forget that.
Operas as a form of art became popular in society around the mid 17th century. Originating from Italy, people viewed the opera as a combination of poetry, dance and music. At the time, people were quick to be awed by the ability of the opera to combine all three forms of art into one show of theatre. Obviously, the opera was quick to spread and develop in other countries. The one destination the opera soon gained popularity and fame in was no surprise. As Oscar de la Renta once said, “If you want to establish an international presence you can’t do so from New York. You need the consecration of Paris.”
The city of Paris is famous for its obsession and its long tradition of designing its urban spaces, fact demonstrated from the large number of more than 450 designed public spaces (gardens, squares, parks, promenades etc.) included in its greater area. In the same time, many of the parisian gardens and parks seem to be heritage from its royal past or presents from previous presidents and mayors of the city and often tend to be ‘museumfied’.
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
In the first chapter Esslin deems all common definitions of drama as lacking and insufficient since they overlook dramatic genres that are not staged. He thus draws heavily on those who regard live theatre as the only true form of drama. And yet Esslin does not state his own definition. He instead declares that drama should not have ...
...olorful than the other mosques that it shares the city with, the Blue Mosque posses a warm character that appears to be non-existent in these massive, albeit grandiose, structures.
To initiate community development and urban development strategies it takes a whole community to become involved in the implementation of designing areas within the city that are being used by residents and tourists. When it comes to the planning it would take a group that consists of people who reside in the area as well as people who are from the outside to give a diverse perspective of how they would visualize certain areas to be designed and presented in a way where everyone can have access to it and at the same time appreciate it. The articles I will be presenting in this provides a comprehension of how a city park can be accessible by everyone hence sustainable development. Sustainable development is a term which combines urban planning and community development to make the city livable, pleasant and attractive for its citizens and tourists as well. (Chiesura, A. 2004)
In William Shakespeare’s Twelfth Night, the art of music appears in the opening of the speech as the unhappy and lovesick Orsino tells his musicians, “If music be the food of love, play on” (I.i.1) In the speech that follows, Orsino asks the musicians to give him so much musical love i.e. food that will “surfeit” and cease to yearn for love any longer. Shakespeare uses music in opening line of play and at the end by Feste singing his song. It reveals that Shakespeare has presented on stage a romantic comedy which is not detached from our everyday reality. Thus songs are used by Shakespeare with surfeiting desire not only for the purpose of entertaining the audience but also closely linked to the play’s theme.