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Five importance of theatre
Importance of theatre
Importance of theatre
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“The dramas laws the dramas patrons give” illustrates the relationship between theatre and the people of the Restoration period (Elwin 5). As theatre of this era sheds light on the newly changing social normal and self-identification the reaction of the audience sheds insight back onto theatre itself. The concept of sex and sexuality is confronted and analyzed as women take the stage for the first time. The rapidly changing constructs of women are illustrated on stage and is widely received by rowdy and enthusiastic audiences. Theatre is used not only to regulate gender and sexuality but puts it on display for society to understand how the views on women’s private and public lives are changing and how sexuality is being used to ignite professional opportunities and garner interest in the theatre. Three major parts of the restoration period will be examined in order to reveal the importance of theatre for women and their right to their sexuality. The social construct of theatre going itself including the social workings of women in the audience, the duality of an actresses and stage’s role in representing societal views on sex and Aphra Behn’s emergence as a successful female playwright and her use of character Angellica Bianca will be analyzed to illustrate how theatre was an essential part of the emergence of women’s sensuality in society.
The love for theatre that King Charles brought back with him from his exile brought reflexivity to who was in the audience. Charles funded many stage productions and the presence of royalty brought a certain amount of prestige to the playwrights and actors and actresses performing at the time. To attend the theatre was a venue for social mingling and self-exploration and expression for women ...
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... acting and playwriting.
Works Cited
Elwin, Malcolm. Handbook to Restoration Drama. Port Washington: Kennikat Press, 1966.
Goldfarb, Alvin & Wilson, Edwin. History of the Living Theatre: Fifth Edition. New York: McGraw - Hill Companies, 2008.
Lowenthal, Cynthia. Performing Identities on the Restoration Stage. Southern Illinois University: Library of Congress Cataloging –in- Publication Data, 2003.
Maus, Katharine Eisaman. “Playhouse Flesh and Blood’: Sexual Ideology and the Restoration Actress” Theatre as Cultural Practice. Brock University: Brock Printing Services, 2010. 568 – 574. Course pack.
Nicoll, Allardyce. A History of Restoration Drama 1660-1700. London: Fetter Lane, E.C, 1923.
Wise, Jennifer., and Walker, Craig S, eds. The Broadview Anthology of Drama : Plays From the Western Theatre. Toronto, ON : Broadview Press, 2003. Print.
Eighteenth century British theatre was perhaps the starting point that would evolve into modern theatre. Women started to be allowed on stage and acting techniques were beginning to change. Leading performers were like celebrities with a number of fans. Theatre was an intricate part of the social ladder. In the overall scheme of things the actors and actresses played an important part in making the theatre what it was. Without the performers there wouldn’t really be theatre, so in order to understand the eighteenth century British theatre the performers of that era need to be understood.
Pellegrini, Ann. “The Plays of Paula Vogel.” A Companion to Twentieth-Century American Drama. Ed. David Krasner. Malden, MA: Blackwell, 2005. 473-84.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
WORKS CITED Meyer, Michael, ed., pp. 113 Thinking and Writing About Literature. Second Edition. New York: Bedford/St. Martin, John J., 2001. o Joan Murray, "Play-By-Play".
Throughout the plays, the reader can visualize how men dismiss women as trivial and treat them like property, even though the lifestyles they are living in are very much in contrast. The playwrights, each in their own way, are addressing the issues that have negatively impacted the identity of women in society.
Williams, Tennessee. The Glass Menagerie. 1945. The Bedford Introduction to Drama. 5th ed. Lee A. Jacobus, ed. Boston: Bedford/St. Martin’s, 2005.
This paper will look at the different conceptions highlighted by Bulman in his article through the use of different methods used by the actors in the play. Twelfth Night, by William Shakespeare captures the different conceptions of gender identity and different sexualities within the Elizabethan period.
Gainor, J. Ellen., Stanton B. Garner, and Martin Puchner. The Norton Anthology of Drama, Shorter Edition. New York: W. W. Norton &, 2010. Print.
Wilson, August. "The Piano Lesson." Drama: A Pocket Anthology. Ed. R. S. Gwynn. 5th ed. New York: Pearson, 2012. 362-442. Print.
Watt, Stephen and Richardson, Gary A. American Drama: Colonial to Contemporary. Mason: Centage Learning, 2003.
Theatre Journal 37.4 (1985): 426-439. Print. Wheeler, Kip. " Literary Terms and Definitions M." Literary Terms and Definitions "M" Carson-Newman University, n.d. Web. 12 May 2014.
In William Shakespeare’s tragic play Othello there are numerous instances of obvious sexism aimed at the three women in the drama -- Desdemona, Emilia and Bianca – and aimed at womankind generally. Let us delve into this subject in this paper.
” Drama for Students. Ed. Anne Marie Hacht. Vol. 21.
Bloomfield, Morton W. and Robert C. Elliott, ed. Great Plays: Sophocles to Brecht. New York: Holt, Rinehart and Winston, Inc., 1965.
1. Ibsen, Henrik. Hedda Gabler. The Bedford Introduction to Drama. Ed. Lee A. Jacobus. 3rd ed. Boston: Bedford Books, 1996. 672-709.