Theatre and Feeling: 1

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See also: Koothu and Koodiyattam Rakshasa or the demon as depicted in Yakshagana, a form of musical dance- drama from India Peterson, Richard A. (1982). "Five Constraints on the Production of Culture: Law, Technology, Market, Organizational Structure and Occupational Careers". The Journal of Popular Culture. 16 (2): 143–153. doi: 10.1111/j.0022-3840.1982.1451443.x. Benjamin, Walter. 1928. The Origin of German Tragic Drama. Trans. John Osborne. London and New York: Verso, 1998. ISBN 1-85984-899-0. Spolin, Viola (1999) [1963]. Improvisation for the Theater (3rded.). Evanston, Il: Northwestern University Press. ISBN 0-8101-4008-X.

Some forms of improvisation, notably the Commedia dell'arte, improvise on the basis of ' lazzi' or rough outlines of scenic action (see Gordon 1983 and Duchartre 1966). All forms of improvisation take their cue from their immediate response to one another, their characters' situations (which are sometimes established in advance), and, often, their interaction with the audience. The classic formulations of improvisation in the theatre originated with Joan Littlewood and Keith Johnstone in the UK and Viola Spolin in the US; see Johnstone 2007 and Spolin 1999. Dacre, Kathy, and Paul Fryer, eds. 2008. Stanislavski on Stage. Sidcup, Kent: Stanislavski Centre Rose Bruford College. ISBN 1-903454-01-8. Fergusson, Francis (1968) [1949]. The Idea of a Theater: A Study of Ten Plays, The Art of Drama in a Changing Perspective. Princeton, NJ: Princeton University Press. ISBN 0-691-01288-1.Duchartre, Pierre Louis (1966) [1929]. The Italian Comedy: The Improvisation Scenarios Lives Attributes Portraits and Masks of the Illustrious Characters of the Commedia dell'Arte. Translated by Randolph T. Weaver. New York: Dover Publications. ISBN 0-486-21679-9. Richmond, Farley (1998) [1995]. "India". In Banham, Martin (ed.). The Cambridge Guide to Theatre. Cambridge: Cambridge University Press. pp. 516–525. ISBN 0-521-43437-8. The theory that Prometheus Bound was not written by Aeschylus adds a fourth, anonymous playwright to those whose work survives.

Xiangsheng is a certain traditional Chinese comedic performance in the forms of monologue or dialogue. Milling, Jane; Ley, Graham (2001). Modern Theories of Performance: From Stanislavski to Boal. Basingstoke, Hampshire, and New York: Palgrave. ISBN 978-0-333-77542-4. No tragedies from the 6th century BCE and only 32 of the more than a thousand that were performed in during the 5th century BCE have survived. [29] [30] [g] We have complete texts extant by Aeschylus, Sophocles, and Euripides. [31] [h] The origins of tragedy remain obscure, though by the 5th century BCE it was institutionalised in competitions ( agon) held as part of festivities celebrating Dionysus (the god of wine and fertility). [32] [33] As contestants in the City Dionysia's competition (the most prestigious of the festivals to stage drama) playwrights were required to present a tetralogy of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three tragedies and one satyr play. [34] [35] [i] The performance of tragedies at the City Dionysia may have begun as early as 534 BCE; official records ( didaskaliai) begin from 501 BCE, when the satyr play was introduced. [36] [34] [j]

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Wilhelm Kosch, "Seyler, Abel", in Dictionary of German Biography, eds. Walther Killy and Rudolf Vierhaus, Vol. 9, Walter de Gruyter editor, 2005, ISBN 3-11-096629-8, p.308. Gauss, Rebecca B. (1999). Lear's Daughters: The Studios of the Moscow Art Theatre 1905–1927. American University Studies, Ser. 26 Theatre Arts. Vol.29. New York: Peter Lang. ISBN 978-0-8204-4155-9. Styan, J. L. (2000). Drama: A Guide to the Study of Plays. New York: Peter Lang. ISBN 978-0-8204-4489-5. a b "Theatre company definition and meaning". Collins English Dictionary . Retrieved December 14, 2021.

Drawing on the " semiotics" of Charles Sanders Peirce, Pavis goes on to suggest that "the specificity of theatrical signs may lie in their ability to use the three possible functions of signs: as icon ( mimetically), as index (in the situation of enunciation), or as symbol (as a semiological system in the fictional mode). In effect, theatre makes the sources of the words visual and concrete: it indicates and incarnates a fictional world by means of signs, such that by the end of the process of signification and symbolization the spectator has reconstructed a theoretical and aesthetic model that accounts for the dramatic universe." [3] In the Song dynasty, there were many popular plays involving acrobatics and music. These developed in the Yuan dynasty into a more sophisticated form known as zaju, with a four- or five-act structure. Yuan drama spread across China and diversified into numerous regional forms, one of the best known of which is Peking Opera which is still popular today. While theatre troupes were formerly often travelling, the idea of the national theatre gained support in the 18th century, inspired by Ludvig Holberg. The major promoter of the idea of the national theatre in Germany, and also of the Sturm und Drang poets, was Abel Seyler, the owner of the Hamburgische Entreprise and the Seyler Theatre Company. [66] The "Little House" of the Vanemuine Theatre from 1918 in Tartu, Estonia. [67] The Tang dynasty is sometimes known as "The Age of 1000 Entertainments". During this era, Ming Huang formed an acting school known as The Pear Garden to produce a form of drama that was primarily musical. That is why actors are commonly called "Children of the Pear Garden." During the dynasty of Empress Ling, shadow puppetry first emerged as a recognized form of theatre in China. There were two distinct forms of shadow puppetry, Pekingese (northern) and Cantonese (southern). The two styles were differentiated by the method of making the puppets and the positioning of the rods on the puppets, as opposed to the type of play performed by the puppets. Both styles generally performed plays depicting great adventure and fantasy, rarely was this very stylized form of theatre used for political propaganda. Having been an important part of human culture for more than 2,500 years, theatre has evolved a wide range of different theories and practices. Some are related to political or spiritual ideologies, while others are based purely on "artistic" concerns. Some processes focus on a story, some on theatre as event, and some on theatre as catalyst for social change. The classical Greek philosopher Aristotle, in his seminal treatise, Poetics ( c. 335 BCE) is the earliest-surviving example and its arguments have influenced theories of theatre ever since. [17] [18] In it, he offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama— comedy, tragedy, and the satyr play—as well as lyric poetry, epic poetry, and the dithyramb). He examines its "first principles" and identifies its genres and basic elements; his analysis of tragedy constitutes the core of the discussion. [83]Burt, Daniel S. (2008). The Drama 100: A Ranking of the Greatest Plays of All Time. New York: Facts on File. ISBN 978-0-8160-6073-3. Aristotle's phrase "several kinds being found in separate parts of the play" is a reference to the structural origins of drama. In it the spoken parts were written in the Attic dialect whereas the choral (recited or sung) ones in the Doric dialect, these discrepancies reflecting the differing religious origins and poetic metres of the parts that were fused into a new entity, the theatrical drama. A theatre company is an organisation that produces theatrical performances, [4] as distinct from a theatre troupe (or acting company), which is a group of theatrical performers working together. [5] [6] Athenian comedy is conventionally divided into three periods, "Old Comedy", "Middle Comedy", and "New Comedy". Old Comedy survives today largely in the form of the eleven surviving plays of Aristophanes, while Middle Comedy is largely lost (preserved only in relatively short fragments in authors such as Athenaeus of Naucratis). New Comedy is known primarily from the substantial papyrus fragments of Menander. Aristotle defined comedy as a representation of laughable people that involves some kind of blunder or ugliness that does not cause pain or disaster. [l] Brown, Andrew (1998). "Greece, Ancient". In Banham, Martin (ed.). The Cambridge Guide to Theatre (Rev.ed.). Cambridge: Cambridge University Press. pp. 441–447. ISBN 0-521-43437-8.