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It is true that the art of performing stories with music in front of large audiences dates back in time to Ancient Greece. The great Greek playwrights commonly included music and dance in some of their stage comedies and tragedies. These performances contributed in the development of musical theatre as we know it today. Theatre coupled with song and dance became more popular in the 1600 -1700’s. Ballad operas became popular, using some comedy and popularly known songs. Some critics of the theatre do not believe that musical theater descended from opera, and in fact, they feel it does not try to imitate grand opera. Despite being called “comic operas”, shows on Broadway such as Robin Hood were not really operas at all they were more musicals. …show more content…
Noblemen commissioned singers and composers to create individualized pieces for them and the opera was normally only performed once.
The first opera house opened in 1637. The early public opera houses were yet another experiment of the times. It was the first time that the paying public could take in an opera. The lowest-priced tickets admitted patrons to the main floor of the house where there were no seats, so they stood or circulated amongst the crowd. Those who had rented a box could bring in chairs in which to sit and, at their leisure, and watch a performance. Performances lasted many hours, where lovers flirted, dinner was eaten in the boxes, gossip was shared, and where business was conducted.
The opera houses were constructed in a horseshoe shape with “layer upon layer of boxes for the wealthy who bought season tickets” (Graybill p. 88) while the average Venetian purchased standing room only tickets. The small opera houses replicated the private spaces of the rectangular shaped ballrooms found in the palaces. The new opera houses had hard reflecting walls that could enhance the length of the reverberations than that of the palace rooms. The opera house was illuminated by candlelight, which were not dimmed during the performance, as the lights are now dimmed during modern Broadway plays as a signal for the audience to
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The most important artist in the theater was the stage designer and audiences were so fascinated by the extraordinary effects these stage designers created to allow the audience to visually follow the plot of the new Stage designers used intricate machines designed to make clouds appear in the sky, cities sink into oblivion, or enable gods to descend from the heavens--DEUS EX MACHINA. The mechanical noises combined with the masking music must have made the stage a loud place in which to perform. The noises from the equipment eventually lead composers to include instrumental music to be played at critical points to mask these sounds.
Broadway musicals “American Opera”, is predominantly drawn from the operatic arts culture. Opera made use of drama, music, costumes, and art to tell ageless stories and this is where modern Broadway musicals have taken their cues. There are many parallels between subject matter of opera buffa and the musical comedy. Songs are used to create drama, move the story forward, and hopefully teach us something about our own lives. The use of an orchestra is still used to support the singers and add depth to their
Musicals are usually known for their upbeat songs, dances, and the lighthearted stories that they tell through the art form known as theatre. What many people don’t know, is that since the beginning of theatre, musicals have dealt with serious social issues that have taken place within our society. Musicals have taken unique approaches in projecting impactful social movements and issues. In the past, musicals have made certain ideals, values, and perspectives easier for the people in society to understand and accept. One of the most prominent theatre production companies to deal with major social issues and that has had influence through their musicals is Rodgers and Hammerstein.
Richard Rodgers and Oscar Hammerstein were both writers and producers in the theatre, but, their collaborative venture in the 1940’s introduced a new era of musical theatre. First, they wrote the first musical in which every element: music, lyrics, narrative, and even dance contributed to telling the story, each part blending and woven into the whole. Their new idea was a huge sensation with audiences, and brought with it, new recordings of shows with albums and records to follow and revival productions around the world. The duo changed the fate of musical theatre practically overnight, but, it couldn’t have been done without the projects, big or small, that got them there, their
If you don't think this is romantic, consider that Jonathan Larson's sensational musical is inspired by Puccini's opera "La Boheme," in which the lovers Mimi and Rodolfo are tragically separated by her death from tuberculosis. Different age, different plague. Larson has updated Puccini's end-of-19th-century Left Bank bohemians to end-of-20th-century struggling artists in New York's East Village. His rousing, moving, scathingly funny show, performed by a cast of youthful unknowns with explosive talent and staggering energy, has brought a shocking jolt of creative juice to Broadway.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
Ever heard of a story that sings of the “Angel of Music” and the “Phantom of the Opera”? A tale that once you have listened to the sweet melody that you will realized that you've pasted the “Point of No Return”? This love triangle has captivated multitudes ever since the 1910 original Phantom of the Opera was published in France by Monsieur Leroux, although most story lovers recall the musical of the same name by Andrew Lloyd Webber or the motion picture adaption. Although this story has been entertaining people for over a century, in this new era have prerecorded voices and movements begun to overshadow the talented performers of live theater? Although “The lavish screen adaptation of Andrew Lloyd Webber's Phantom of the Opera (2005) only deepened the damage” of the dislike of musicals made into film “with non-stars in the leads and an unimaginative production,”(Musical),which version, the live performance or the film, makes the story more attractive? To answer these questions, permit this essay to analyze two methods of storytelling: 2011 live performance Andrew Lloyd Webber's The Phantom of the Opera at the Royal Albert Hall and the 2005 film, and decide if music and story lovers everywhere have too “turned from true beauty”.
As in all genres, the musicals have had its share of failures. Some worthy dramas have been pressed into service and musicalized and sometimes butchered in the process, and audiences have had to watch a fine play diluted into a mediocre musical. But the successes have been many and spectacular and they have left a long lasting effect on the American art and culture.
Since theatre was established as an art form, it has constantly been changing and developing as new methods of theatre styles came to light. This is also true with how musical theatre developed into how we know it today. Vaudeville and burlesque were forms of theatre in the late 1800’s and early 1900’s that forged the way for the American musical to emerge. The elements that writers used from vaudeville allowed for not just musical acts to be performed during the course of the story, but eventually became a way for the story to further be told. The American musical was not always as big as it is today, and vaudeville and burlesque acts made it possible for such a type of performance style to develop. Musical writers used multiple elements, not just the song element, in their stories. This change did not just happen overnight. The evolution from vaudeville and burlesque was a gradual one, taking years to further develop the performance styles into the Broadway musical we can see today.
One of the very first electrified streets in the United States was Broadway. This gave it many opportunities to become a large icon for our nation. As we know now it is one of the most well-known places for great entertainment. However Broadway was not always the iconic entertainment center it is today; it was stolen, had New York City emerge around it, and persevered through many difficult economic and cultural times.
A Chorus Line is a musical that focuses on Broadway dancers who audition for spots on a chorus line. Throughout the play, the different backgrounds and struggles of the different dances are shown to the audience, explaining the behavior of the dancers. As the past of each of the dancers unfolds, the audience understands and appreciates the musical more and more. Not only does A Chorus Line portray the difficulties that performers must overcome to be successful, it also demonstrates the real world fact that not everyone can “make it.” While A Chorus Line had an interesting plot, the actors brought it to life.
In the Elizabethan Era (1558-1603) and the Jacobean Era (1603-1625), there was a fondness for spectacle and pageantry. At court, trumpets and drums resounded to announce mealtimes; in town, these instruments were used by theatre troupes to herald upcoming performances (Renaissance & Baroque Society of Pittsburgh, 2003, and Folkerth, 2002). Music, then, is applied boldly and lavishly in everyday life and in drama, an imitation of life.
The theatron was the place where the audience sat. At first the spectators sat on the ground, later on wooden bleachers and finally on tiers of stone seats which followed the circular shape of the orchestra and the natural contours of the countryside. The theatron surrounded the orchestra on three sides. Describing the theater of Dionysus, David Taylor writes, " The spectators seats were in a curving area, a little more than a semi-circle and slope down to the center" (Taylor 19). Even though all classes of people attended the theater there were reserved areas for the more prestigious, such as the king.
Grout, Donald Jay, and Williams, Hermine Weigel. A Short History of Opera: 4th Edition. New York: Columbia University Press, 2003
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
Musical theatre is a type of theatrical performance combining music, dance, acting and spoken dialogue. Written by Leonard Bernstein and Stephen Sondheim, ‘West Side Story’ is a classic American musical based on William Shakespeare’s ‘Romeo and Juliet’. The through-composed score and lyrics are used to portray different characters and their cultures, the rivalry between the Jets and Sharks, and the emotions felt as the story progresses. This essay will be exploring the music and how effective the score is in realising the world and characters of the musical. Furthermore, it will discuss how Bernstein and Sondheim relate characters’ diverse ethnicities to particular musical ideas and motifs.
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.