| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "GREEK TRAGEDY JAPANESE NOH DRAMA": |
|
|
Greek Tragedy and Japanese Noh Drama, 2002.
A compare and contrast analysis of ancient Greek tragedy and Japanese Noh Drama.
2,835 words (approx. 11.3 pages), 7 sources, MLA, AU$ 122.95
»
Click here to show/hide summary
Abstract
This paper discusses the similarities and differences between Greek tragedy and Japanese Noh Drama. It examines how although they are separated by nearly two millennia, by thousands of miles and by cultural differences, both were theatrical traditions involving masked performers, frequent use of music and dancing, on-stage choruses and historic-mythological themes and stories drawn from traditions. It looks at how later centuries' understanding of them, depends heavily on Aristotle's "Poetics" and Zeami's essays on Noh drama and how the two writers' approaches indicate the principal difference in the two traditions.
From the Paper
"Greek drama originated in the choral hymns sung to the god Dionysus. Mimed episodes were enacted to accompany the dithyrambs of the seventh century and, as Aristotle has it, a "long series of changes" ended only on Tragedy's "attaining to its natural form" (Aristotle 670). The alternation of choral song and dance with enacted scenes predominated until Aeschylus introduced the second actor and "made the dialogue, or spoken portion, take the leading part in the play" (Aristotle 670). Sophocles introduced the third actor and scenery. And tragedy acquired its magnitude by expanding its scope and increasing the dignity of its presentation. The playwrights proceeded by discarding the trochaic meter, more appropriate to dancing, for the iambic which was more like natural speech."
| |
|
Greek Tragedy and Noh Drama, 2001.
Compares the two theatrical traditions. Background of each, including Aristotle's theories on drama and influence of Zeami on the Noh repetoire.
2,250 words (approx. 9.0 pages), 7 sources, AU$ 114.95
»
Click here to show/hide summary
From the Paper
"Greek tragedy and Japanese Noh drama offer interesting points of comparison. Although they are separated by nearly two millennia, by thousands of miles, and by cultural differences too numerous to mention both were theatrical traditions involving masked performers, the frequent use of music and dancing, on-stage choruses, and historic-mythological themes and stories drawn from traditions with which the audiences possessed some familiarity. Both theatrical traditions had important spokesmen and the perpetuation of the traditions, as well as later centuries' understanding of them, depended in large part on Aristotle's Poetics and Zeami's essays on Noh drama. But the two writer's approaches indicate the principal difference in the two traditions as well. Aristotle, as a thinker rather than a playwright or actor, contributed to the transformation of Greek..."
| |
|
Greek Tragedy and "Oedipus Rex", 2002.
Examines the history of Greek tragedy and describes "Oedipus Rex" as the greatest of all Greek tragedies.
2,015 words (approx. 8.1 pages), 4 sources, AU$ 91.95
»
Click here to show/hide summary
Abstract
This paper examines the historical evolution and maturation of tragedy in ancient Greece, and the characteristics of a tragic hero. The author focuses on one of the most famous Greek tragedies, Oedipus Rex, and greatly details the story of Oedipus and his tragic flaws. The paper also discusses all elements in an ancient Greek production, such as the prologue, chorus, and exodus.
From the Paper
"Oedipus Rex is a story of one man?s pursuit for truth. Although Oedipus falls victim to obstacles he is unable to overcome, he encounters these obstacles along his journey to find the truth. In the view of Sophocles, the tragic hero must accept the responsibility for his actions, as does Oedipus in the final scene, regardless of his original motives and inability to control or understand the forces in which rule his life. The plot, Oedipus? search for truth, and the chorus are all contributing factors that make Oedipus Rex the greatest in the history of all Greek tragedies."
| |
|
The Greek Tragedy, 2002.
This paper provides a thorough analysis of Greek tragedy, with emphasis on Aeschylus, Euripides, and Sophocles.
2,715 words (approx. 10.9 pages), 8 sources, AU$ 117.95
»
Click here to show/hide summary
Abstract
This paper provides an in-depth look at the history of ancient Greek tragedy. The author discusses the works of Aeschylus, Sophocles, and Euripides, and looks at how tragic drama evolved. The paper also examines stage customs, mythological roots of performance customs, and human ties with gods.
From the Paper
"The Greek tragedy represents the details of a very short period of history that ranges from about 480 BC, at the time when Aeschylus's early plays were performed, till the period when the last plays of Sophocles and Euripides were being performed at the end of the fifth century. The tragedies written by Sophocles and Euripides are the plays written in the fifty years from 480 BC, the time when the war with Persia came to an end, to 430 BC, the start of the Peloponnesian War with Sparta which later destroyed Athens as an independent city-state. It is quite interesting to note that the majority of mature plays of Sophocles and Euripides were written against a background of continuous war. There is no real evidence as to from where the tragedy writing originated, however it is widely believed that the development of tragic dialogue may have been influenced by dramatic presentations of classic and other forms of poetry but its harmonic origins are less well known."
| |
|
Female Bonding with Marriage in Greek Tragedy, 2002.
This paper takes a look at female-female bonds in the Greek tragedy and how those bonds contribute to the demise of marriage.
1,825 words (approx. 7.3 pages), 5 sources, AU$ 84.95
»
Click here to show/hide summary
Abstract
This paper examines wives? relationships with other women, be they mothers, daughters, or confidantes, as a destructive force in the minds of ancient Greek men.
From the Paper
"There are two main types of women that can change the course of an ancient Greek play by their effects on the tragic heroine: mother and confidante. In the Homeric Hymn to Demeter, we see the first of these types. Demeter, a mother distraught over her daughter?s abduction and rape, is only pacified by the breakup of Persephone?s marriage for four months out of the year. In this case, the cost of preserving the mother-daughter bond is the sacrifice of the daughter?s marriage for a third of every year. The maternal bond and the marriage bond seem to be incompatible; here, the two are unable to coexist spatially or temporally. It is Demeter who, by her passive-aggressive registration of disapproval, manages to become every son-in-law?s nightmare by turning his newlywed wife against him. "
| |
|
Japanese Noh Theater and the Traditional Western Theater, 2000.
A comparison of the evolution and development of two distinctive forms of theater.
1,965 words (approx. 7.9 pages), 6 sources, AU$ 90.95
»
Click here to show/hide summary
Abstract
The Noh Theater of Japan is an extremely ritualized tradition, and traces of the Noh Theater are found in Western theater. This paper explores many of the distinctive elements of the Noh Theater, such as the use of masks, the themes presented within plays, and the evolution from the old Noh Theater to a more modern presentation of Noh techniques. While the focus of this paper is on the Noh Theater, comparisons are drawn between the Noh Theater and traditional Western theater. There is also a discussion of the more dialogue-driven kyogen style of Japanese theater in respect to the more ritualized Noh Theater.
From the Paper
"The impact on the Noh Theater on the Western theater can be seen to have occurred in a very diverse way. It appears that the Western theaters managed to assimilate various components from the Noh Theater, such as the use of the hitamen in performances to convey a blank countenance. However, the greatest aspect of the Noh Theater on the West is found within the development of more exacting performance techniques, where rather than a single production being subject to incongruities and shoddy acting, the standards of acting were promoted to a higher level overall."
| |
|
Phaedra: Greek Tragedy of Jean Rancine, 2002.
An examination of the character of Phaedra in the famous Greek play.
925 words (approx. 3.7 pages), 1 source, MLA, AU$ 47.95
»
Click here to show/hide summary
Abstract
This paper looks at the Greek poem Phaedra and the challenging role of the anti heroine Phaedra as she battles with her inner emotions of an illicit affair. The paper looks at Phaedra herself and asks whether she is wholly evil or rather just a pawn of the Gods.
From the Paper
"The Greek hero is a much loved and favoured topic of many an author be they classicist, romantic or modern. Many a Greek hero has been idolized by these writers, for example Homer had his Achilles and Odysseus, and Virgil had his Aeneas. However, there is another aspect of the Greek hero or rather in the following case the heroine."
| |
|
'Medea', a Greek Tragedy of Betrayal and Revenge, 2001.
Summary and critique of the play "Medea", written by Euripides and, the version, translated by Michael Townsend.
1,155 words (approx. 4.6 pages), 0 sources, AU$ 57.95
»
Click here to show/hide summary
Abstract
This paper summarizes and critiques the play "Medea" by Euripides and translated by Michael Townsend, emphasizing Euripides? style of writing and the new ideas he introduced such as his views on denial, revenge and the tragedy taking place. The paper also offers a psychological analysis of the characters of the play.
From the Paper
?The chorus in Medea displays qualities of both a commentator and a spectator. At times, the chorus sides with Medea and hopes to give her advice and support, while at other times it quietly looks on, shaking its collective head and watching as the damage is done. When Medea first faces the chorus, her calm and reflective tone, especially after her previous eruptions of rage and despair, reveals her unsettling ability to gather herself together in the midst of a crisis and pursue her plans with an almost inhuman determination.?
| |
|
Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, AU$ 50.95
»
Click here to show/hide summary
Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
| |
|
The Greek Tragedies of Euripides, 2002.
The paper discusses the contribution made to the archives of Classical Greek literature by the author Euripides, focusing on one of his best known works, "Medea".
1,429 words (approx. 5.7 pages), 5 sources, MLA, AU$ 68.95
»
Click here to show/hide summary
Abstract
The paper traces Euripides' rise to fame from a little known playwright, to a master of Greek tragedy and the influence his work has had in western literature. The paper examines the literary motifs and dramatic rhetoric of his works. The paper then analyzes the contradictions found in his play "Medea" and focuses on five specific traits that can be traced throughout the text of the play.
From the Paper
"The two main characters, Medea, a sorceress, and Jason, her lover, are often viewed by classical scholars as the most purely human of all Greek tragic figures without the trappings of influence via the gods. As is the case with most Greek tragedies, Medea offers to the reader an eternal caution against the excesses of emotion and a very stern warning against bitter vengeance, for as human beings, the characters in Medea, and for that matter Euripides himself, "are susceptible to a lethal mixture of error, ignorance and violent arrogance" (Martin, 1996, p. 134)."
| |
|
No Or/ Noh Drama, 1992.
Examines the five classes of plays, masks, religious foundation and Kabuki.
2,250 words (approx. 9.0 pages), 10 sources, AU$ 114.95
»
Click here to show/hide summary
From the Paper
"THE N? DRAMA
The N? drama (or it is sometimes spelled the N?h drama), had its original roots in religious ceremony. This is important in understanding the N? drama for perhaps no national theater is rooted in its nation's religion, as is the N? drama. In its very beginnings the N? drama developed "from temple festivities and dances until in the 14th century the Kanami family of actors created the form still known today."
The entire approach and attitude of N? drama can be seen by the stage, which is always very simple and virtually bare, with a single fir tree painted on the back. That the stage has remained unchanging in this simple, basic form for six centuries, gives a key to N? drama itself, for the drama and the method in which it ..."
| |
|
Comedy, Drama and Tragedy, 2008.
This paper examines Greek and Elizabethan tragedies, dramas and comedies.
1,715 words (approx. 6.9 pages), 7 sources, MLA, AU$ 80.95
»
Click here to show/hide summary
Abstract
The paper describes the basic form of the Elizabethan play that is modeled after the Greek structure. The paper looks at Greek tragedies and comedies and considers Gustav Freytag's classic analysis of Greek and Elizabethan plays. The paper includes a diagram of Freytag's triangle as an appendix.
From the Paper
""Fiction," says Jean Anouilh, gives life its form." Shakespeare derived his Comedy of Errors from Plautus' Menaechmi and many of Shakespeare's dramas are retellings of the ancient fictions of Greek myths, both tragedies and comedies. The basic form of the Elizabethan play (indeed, most plays written in successive periods, up until contemporary theater and film) is modeled after the Greek structure. One may recognize the structure still being used in theater and much narrative literature today. Utilization of this basic structure allows the story to flow naturally, allows the audience to recognize the reality and truth of life in the story, and to anticipate and yearn to find the moral or the message that resides in its heart."
| |
|
Tragedy in Drama, 2007.
This paper analyzes the tragedies in Arthur Miller's "Death of a Salesman" and Sophocles' "Oedipus the King."
1,332 words (approx. 5.3 pages), 4 sources, MLA, AU$ 64.95
»
Click here to show/hide summary
Abstract
The paper attempts to define tragedy as these two works illustrate tragic characters and tragic plots. The paper relates that tragic drama involves a tragic hero, an insurmountable situation and a conclusion that is neither satisfying nor cheerful. The paper shows how the characters of Willy Loman and Oedipus are extremely tragic; not because of their fates, but because of their flaws. The paper examines and compares Willy Loman and his wasted life and Oedipus and his tragic mistakes.
From the Paper
"In Arthur Miller's Death of a Salesman, Willy Loman is a classic tragic hero. He is not "near-perfect" as Aristotle's definition requires, but he does evoke pity and fear in his family and in the audience. He is desperate to save his personal dignity, at least in front of his family, and this is an important element in Miller's definition. In addition, his life is tragic, which translates into the tragic plot element of the play. His son Biff is really the only one who understands Willy, and he muses near the end of the play, "He had the wrong dreams. All, all wrong" (Miller, 2962, p. 1054). The wrong dreams and the wrong way of pursing them leads to Willy's tragic end, as it does in Oedipus the King."
| |
|
Japanese Orientalism in "A Japanese Nightingale", 2007.
An examination of how Onoto Watanna perpetuates Japanese Orientalism in her novel, "A Japanese Nightingale."
978 words (approx. 3.9 pages), 3 sources, MLA, AU$ 50.95
»
Click here to show/hide summary
Abstract
This paper discusses Onoto Watanna's tale, "A Japanese Nightingale." It shows how Watanna perpetuates Japanese Orientalism throughout the book. It discusses the plot of the story and describes the images of Japan and its people that Onoto Watanna chose to present to American society through her book, even though she had never set foot in Japan herself.
From the Paper
"As the dance began, the girl seemed to control both the light of the moon, and the weather, as it had "begun to rain," (Watanna 5) but was only the pattering of her feet, followed by a representation of a rainbow made from moonlight shining upon the girls clothing. The whole dance and the sudden disappearance of the dancer gave the haunting impression that the girl was some sort of mystical child of the moon, the rain, and the sky.
"At the end, of the girls dance, it is almost uncertain as to weather this girl was real or not. After being found by the American manager, her eagerness for money, as exemplified enthusiastic manner with which she responded to Jack Bigelow's proposition of fame and riches seemed to bring her more into the realm of the human being, but the strange unwillingness, or perhaps inability, to leave Japan continued to cast her in an almost mystical light, until the end."
| |
|
Japanese Cuisine: Japanese Culture and What They Eat, 2000.
A look at the exotic world of Japanese cuisine, including its health benefits and the importance that Japanese place on the presentation of a meal.
2,136 words (approx. 8.5 pages), 3 sources, AU$ 96.95
»
Click here to show/hide summary
From the Paper
"Within the Japanese cuisine, there contains many strange meals but there are myriads of delights that would make anybody?s tastes buds melt. Coming from a Japanese decent I have tried many of these tasty meals, but I would not take it too an extreme to say that I drink ?snakes blood for longevity?(Steinberg 6). Japanese meals are actually considered very healthy and low fat considered to the traditional American, southern fried chicken. Japanese food is served in little portions and displayed in a very exciting way to liven up every aspect of each savory bite. To liven up these dishes we often cut vegetables or fruits into tiny designs or animals, or organize each piece of meat and each small vegetable in a way that flatters the plate. Cutting and Slicing, mostly vegetables into meticulous designs, makes a dish its own work of art. "
| |
|
Greek Drama and the Modern Production, 2002.
A paper which examines the Aeschylean, Sophoclean and Euripidean styles of Greek Drama and how the relate to modern drama productions.
884 words (approx. 3.5 pages), 3 sources, MLA, AU$ 45.95
»
Click here to show/hide summary
Abstract
The paper examines and analyzes three distinct styles of Greek drama, focusing on the Sophoclean style by giving several examples in drama history such as "Oedipus" and the modern movie, "A Few Good Men". By comparing these styles to what a modern audience expects of a film or play, the paper shows that the Sophoclean style is the most suitable for a modern production.
From the Paper
"This shows the main aspect that makes the Sophoclean approach the most suitable style for a modern audience, the character focus. The Sophoclean styles focuses on the main character as the driving force of the play. This is the same approach taken by modern films and plays, where the plot of the play is based on the struggle of the main character. This usually involves a likeable character being presented with some problem and ultimately either overcoming this problem or learning from it. Importantly, the audience forms a relationship with the main character, with this involving the audience in the action. The film Titanic is a good model example of this. As history shows, the main event the movie is based on is the sinking of the ship and the drowning of hundreds of people. Yet, the film does not focus on this to engage the audience and drive the plot. Instead, the plot focuses on the story of Rose and Jack."
|
|
|
