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Elizabethian period theatre
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Antigone and The Tragedy of Julius Caesar are two tragic masterpieces written by playwrights Sophocles and Shakespeare in two completely different time periods, but more importantly, in two completely different cultures. In light of this one must wonder to what degree culture influenced Antigone and The Tragedy of Julius Caesar. These tragedies are just as equally a creation of Greek and Elizabethan culture as they are of Sophocles and Shakespeare. Greek and Elizabethan culture both greatly influenced drama and theater as we know it today, but the two periods were very different.
Part of understanding Greek culture's influence on drama is understanding why the Greek audiences of fifth century B.C. even went to go see tragedies to begin with. Tragedies then were commonly performed at religious festivals. The City Dionysia (also known as the Great Dionysia) had a theater of 17,000 people. Since these tragedies were being performed for such a huge audience, lessons and/or the reinforcing of cultural values were often hidden in a playwright’s work.
Elizabethan audiences went to plays specifically to be entertained. This forced Shakespeare and other playwrights of that era to give the audience exactly what they wanted to see. Judging by the success of The Tragedy of Julius Caesar and other plays by Shakespeare, death and violence must have been near the top of the list of their demands.
Setting and staging is essential to a play, and once again Greek and Elizabethan eras differ in the way they are done. The Theater of Dionysus was, like all ancient Greek theaters, an open-air auditorium and, due to the lack of adequate artificial lighting, performances took place during the day. Scenes set at night had to be identif...
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...eir influence on modern-day theater is very much the same. Without those two cultures, theater as we know it would not be nearly what it is today.
Works Cited
Shakespeare, William. The Tragedy of Julius Caesar (p. 822-912).
Prentice Hall Literature: Platinum Level, 2005.
Sophocles. Antigone (p. 773-808).
Prentice Hall Literature: Platinum Level, 2005
Henslin, James M. Sociology: A Down to Earth Approach. 2nd ed. Boston: Allyn and Bacon, 1995.
Lesky, Albin. A History of Greek Literature. New York: Methuen and Co., 1996.
Roger Dunkle. “The Classical Origins of Western Culture.” Introduction to Greek Tragedy. Brooklyn College Core Curriculum Series. April 11, 2011. Web. http://depthome.brooklyn.cuny.edu/classics/dunkle/studyguide/tragedy.htm
Cahn, Victor L. The Plays of Shakespeare: A Thematic Guide. Westport: Greenwood Press, 2001.
...ty since "things could happen in the real life of Athens which were virtually unthinkable in tragedy, and vice versa." Perhaps the safest assessment of Dionysus is that while not a direct opponent of the traditional ways, his presence, and especially his effect on other characters, serves to highlight many social norms. According to Bernad Knox, "From start to finish, Euripides was 'attempting to show citizens bred in the traditional views...that such conceptions of the gods should offend them.'" Perhaps we as readers will never fully understand the Dionysus that appears in this play, but a closing look at a remark of the Chorus may bring us a step closer to this understanding:
Shakespeare's first tragedy has been a topic of discussion since the day it was written. Titus Andronicus "was staged on 24 January 1594 by the Earl of Sussex's Men at the Rose Theatre" (Welsh 1). Though this tidbit of information seems somewhat irrelevant to Titus, we must note that there are certain standards and practices established by a play from its first performance. It is also important to establish the general attributes that audiences attribute to Shakespearean performance.
Henslin, James. 2013 (10th edition). Essentials of Sociology: A Down to Earth Approach. Boston: Person/Allyn & Bacon
Theatre is an evolving art form, due to its prevalent themes, in which the creators ‘…express the complications of life through a shared enterprise’ (Lee Hall, 2008). The modernisation of a text whilst maintaining the history relevant to the play has been reinforced by Brisbane based Physical Theatre Company Zen Zen Zo through their 1996 reinterpretation of Eurpide’s The Bacchae, adapted into ‘The Cult of Dionysus’ (Zen Zen Zo, 2016). ‘The Cult of Dionysus’, entails the story of Dionysus, the Greek God of fertility, wine and pleasure, seeks revenge on the ruler of Thebes’ Pentheus, who has just outlawed the worship of Dionysus. The elements of drama have been manipulated to engage the audience, specifically
arrangement, the importance of drama and religion, setting, location. and architectural features of the building. In ancient Greece, festivals were mainly held at the Great Dionysia. This was the oldest theatre in Greece and many plays were performed. here, for example, the first performance of Antigone.
The curtains of the play draw, the audience, quiet and eager waits for the lights to dim to see what William Shakespeare had brought before them. Shakespeare’s plays became enjoyable and fun to watch, seeing actors dress in amazing costumes and props used in The Globe Theater. (1-1)
Corrigan, Robert W. Classical Tragedy, Greek and Roman: 8 Plays in Authoritative Modern Translations Accompanied by Critical Essays. New York, NY: Applause Theatre Book, 1990. Print.
In Euripides’ tragic play, Medea, the playwright creates an undercurrent of chaos in the play upon asserting that, “the world’s great order [is being] reversed.” (Lawall, 651, line 408). The manipulation of the spectators’ emotions, which instills in them a sentiment of drama, is relative to this undertone of disorder, as opposed to being absolute. The central thesis suggests drama in the play as relative to the method of theatrical production. The three concepts of set, costumes, and acting, are tools which accentuate the drama of the play. Respectively, these three notions represent the appearance of drama on political, social, and moral levels. This essay will compare three different productions of Euripides’ melodrama, namely, the play as presented by the Jazzart Dance Theatre¹; the Culver City (California) Public Theatre²; and finally, the original ancient Greek production of the play, as it was scripted by Euripides.
The theater of Dionysus stands at the foot of the acropolis and its date originates back to the 6th Century, B.C.. Its originally wood seats rise in tiers above one another against the slope of the acropolis, creating a natural setting for the plays (D'ooge, 231). The Greek Theater was built to house a drama which, during the festivals of Dionysus, had evolved from the long tradition of choral hymns which were presented each year. As Greek culture changed and flourished, entertainment transformed from being a series of choral chanting and dancing to placing an emphasis on the actor. As the actors' importance grew, there became a need for a stage from which they could be seen by each of the fourteen thousand spectators the theater housed. The chorus was still a very active part of the entertainment and they resided in the orchestra (Norwich, 64). The orchestra was the oldest part of the Greek theater and thus, when the actor was given
Elizabethan times in the 1600s was a progression for the world of the theater. A period named after Queen Elizabeth I of England, it is from this period that modern day society has its foundation for the entertainment industry. From the violence that was prevalent because of the Black Death, people turned to the theater for its poetry and romance. During this time period, there were two types of theatrical performances that were available for the people’s viewing, comedies or tragedies. These two genres were never really intertwined until the time of William Shakespeare. His play, Romeo and Juliet, is an example of both a comedy and a tragedy. It starts off as a comedy with Romeo weeping like a baby because of his love Rosaline, who did not love him back and ends as a tragedy when Romeo and Juliet, a pair of star crossed lovers, commit suicide because the lost of each other. It was also during Shakespeare’s time that writer were finally acknowledged by the people. Before this time, writers were not considered upper classman. Another group of people that began to rise into a higher social class were the actors. Actresses were not present back then because women were not allowed on stage. It was considered unladylike to have a female actor. Men played all the parts. Theater owners were dependent on actors to make them a profit. Rehearsals for the plays were fairly short, only lasting for about a week. The performances themselves would only show for three to four days.
"Different Types of Greek Drama and their importance." PBS. Public Broadcasting Station, n.d. Web. 23 Nov. 2014.
Societies progress can lead to intercultural similarities, and vastily obvious differences. These influences can be seen within the contemporary theatre of the times, explaining and progressing the status of community through storytelling and performance. The reactions to these changes are important, and help shape the society we have today. These elements are best seen between the medieval ans renaissance period.
Many cultural enthusiasts, archaeologists, and architects have a common interest in theatre and its origins. People from a few decades back have located the remaining of the oldest theatres in Greece, England, France and some parts of minor Asia. Theatre was a part of people’s lives as it was one of the few sources of entertainment, and it was originated from when people collectively sit in a gathering and listen to a storyteller. There were performances done by different people present at that moment. Later on, this activity kept improving and innovating, and in the result, many theaters for entertaining purposes were built by emperors who ruled the countries or kingdom in those days. The design of these theatres
A modern tragedy of today and a tragedy of ancient Greece are two very different concepts, but ironically, both are linked by many similarities. In “Poetics”, Aristotle defines and outlines tragedy for theatre in a way that displays his genius, but raises questions and creates controversy. Aristotle’s famous definition of tragedy states:
William Shakespeare, Christopher Marlowe, and Ben Johnson are names that have resonated through the centuries. Not since ancient Athens has there been such gluttony of talent, producing stories for the ages. Might Athens be were these Englishmen found their inspiration? Greece produced its share of legendary playwrights; Sophocles and Euripides are two of the most famous. There are far m Elizabethan England gave birth to some of the most famous names in theatre. ore similarities between Elizabethan and Greek Theatre then there are differences. The influence of both eras is felt even today, stage productions of Shakespeare and Euripides are performed from London too Broadway and everywhere in between. I believe that both eras have influenced modern theatre simply because the Greek so obviously influenced Elizabethan theatre.