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History of Musical Theater, 2004.
An examination of the history of musical theater in the United States from 1864-1950.
812 words (approx. 3.2 pages), 1 source, MLA, AU$ 41.95
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Abstract
This paper explores some of America?s most important musical styles, which were usually found outside of the concert hall and represented such genres as comic opera, operetta, and other types musical revues. It looks at how these were usually located in the major cities like New York, Chicago, Philadelphia, Boston and San Francisco. This paper provides a brief discussion of the history of these musical styles.
From the Paper
"The ?Great Depression? years, circa 1929 to 1940, created a huge impact on American music, for some long-existing institutions were forced to close their doors due to financial difficulties. The genre of the musical revue was also affected because of nationwide radio broadcasts that severely limited the number of people that attended live musical performances. As an example, ?between 1929 and 1934, about 70 percent of all musicians in the United States were unemployed? (Crawford, 2001, 590). Thus, with the advent of radio and later television, the true musical revue and its related genres were doomed, and in light of today?s technology have never fully recovered."
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Playbill and the History of Broadway Theater, 2002.
The paper analyzes the role the reference guide, Playbill, has played in Broadway's history, focusing specifically on the musical "Showboat" and its accompanying Playbill.
1,343 words (approx. 5.4 pages), 3 sources, MLA, AU$ 66.95
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Abstract
The paper explains the nature of a Playbill, a kind of reference guide to the show of the evening, summing up the cast list, the cast biographies, and also giving theatergoers a bit of advice about places to go in New York before and after the show. The paper examines the role the playbill plays in encapsulating the consumerist, capitalist nature of Broadway theater. It also explores the influence wielded by Showboat's playbill.
From the Paper
" ?Show Boat,? originally produced in 1926, and later revived at the Gershwin theater in 1994, has often been called the first modern Broadway musical. The image on the cover of the show?s Playbill during its most recent incarnation on Broadway is a sentimental picture of a turn of the century family of three waving at a large, smoking Riverboat show boat ship. This Playbill artifact encapsulates, perhaps more than any other example of the modern, New York Broadway theatre, the nature of Broadway?s form of theatrical, musical entertainment. The Playbill is a nostalgic commodity that reduces the show to a singular theme, and attempts to encapsulate within its covers, in as non-threatening a fashion as possible, the nature of a show that has proved disturbing to many viewers."
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Musical Theatre History, 2004.
An analysis of the history of musical theatre in the United States.
1,158 words (approx. 4.6 pages), 2 sources, MLA, AU$ 57.95
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Abstract
This paper briefly looks at the history of American musical theater traced back to the 18th century. It looks at various types of musical theatre pieces, such as rock musicals, revivals, classics, and others.
From the Paper
"In the 1790?s, theaters in New York City offered much more musical entertainments than mainstream theater drama. During this time, musical performances were flourishing in many other cities and commonly took place in the theater. This gave way to a the beginnings of a variety of entertainment including puppet shows, ballad operas, circuses, dances, all of which had some type of musical involvement."
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Global Theater History, 2006.
This paper looks at global theater history as education for 4th grade children.
2,600 words (approx. 10.4 pages), 6 sources, APA, AU$ 114.95
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Abstract
In this article, the writer looks at film, entertainment and the multimedia business. The writer focuses attention on these aspects in California. The writer discusses that the future lies in interactive entertainment that will take some major features of the computer and video game industry thereby putting an immense impact on the future of entertainment and technology. Further, the writer looks at the Disney business and the history of entertainment features from Japan.
Contents:
Thesis Statement
Outline
Introduction
The Various Entertainment Eras:
Entertainment History from Another Foreign Country: Japan
From the Paper
"After the 1990s, with the growth of digital content in entertainment, California has been acknowledged as the bastion of media entertainment with big banners like Titanic and Jurassic Park becoming blockbuster movies. The heavy special effects in these movies owe their origin in California which has the indomitable strengths of latest technology and rich content. Besides, novel forms of technology is expected to roll out when P.C., T.V. and telephone converge into one. Los Angeles is presently witnessing a multimedia boom as more than a several thousands of people are engaged in the multimedia business. California's tryst with entertainment dates back to the silent era when Mendocino became the first film to be made in its category in the Silent Movie Theatre. In the forthcoming five to six years it is anticipated that computer and video game business will be break unforeseen barriers will be worth a whopping $10 billion in US alone hooking kids and surprising adults too."
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Musical Theater, 2005.
Examines the history of musical theater in the United States.
1,371 words (approx. 5.5 pages), 8 sources, MLA, AU$ 66.95
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Abstract
Musical theater is almost as old as America itself. From the 1700s to the present day, the stages across the United States have come alive with the voices and instruments of dramatic, romantic and comedic musicals that have delighted audiences of all ages. This paper shows that the United States is known for its mixture of cultures, beliefs and traditions and where freedom of expression is not only allowed but encouraged. American musical theater is a prime example of this ethnic and cultural eclectic creativity and presentation. The paper traces the history of musical theater in the United States from the 1700s to the present day.
From the Paper
"Rodgers and Hammerstein started their run of hits with "Oklahoma." The seemingly impossible mixture of murder, suspense and music worked because the characters were characterized in depth. The creative team took other risks as well: Instead of opening with the usual stirring ensemble number, the curtain rose on a farm woman churning butter as a cowboy enters singing a solo about the beauty of the morning. Further, Hammerstein wrote lyrics for all the songs in a conversational style, each fitting specific characters and storytelling needs. In addition, since the characters would be dealing with emotions that might sound awkward if verbalized by cowboys and farm girls, Rodgers and Hammerstein decided to use dance as an integral element."
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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$ 91.95
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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."
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Early American Film History, 2008.
An overview of the history of the American film industry from the late 1890s to the 1920s.
1,848 words (approx. 7.4 pages), 7 sources, MLA, AU$ 86.95
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Abstract
This paper discusses how American cinema from 1896 and thereafter really has its roots in Thomas Edison's early inventions relating to film projectors. The paper then takes a look at the development of early film and cinematography throughout the 1880s and 1890s, starting from the invention of the kinetophonograph. It also tracks the history of films beginning with the first motion picture called "Monkeyshines", filmed in 1891, through the building of the first film studio and movie theaters. In addition, the paper discusses how, by the 1920s, American film and cinematography seemed to mature as an industry and how the technology had advanced to such a degree that producers and directors could shift their attention from the technology to the actual making of a film and directing of the storylines.
From the Paper
"The development of cinema into an art form in its early years is inextricably related to the development and advances associated with the film technology itself. Eventually the dominance of the East coast film companies which had advanced various film projection technologies in tandem with film production such as Edison's own Edison Company and the American Mutoscope Company among others, gave way to film production companies which began to concentrate solely on film production rather than on the technology development as well as film production. This shift in focus from the film projector itself to actual film production began in earnest in the US with the work of Edwin Porter who is known as the father of the story film (Bordwell 57)."
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BalletNY and the History of Ballet, 2007.
This paper provides an overview of the history of ballet and looks at the BalletNY dance company.
1,909 words (approx. 7.6 pages), 11 sources, MLA, AU$ 88.95
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Abstract
Describing ballet as a classical dance form characterized by grace and precision of movement and elaborate formal technique, the writer of this articles presents a history of ballet. The writer looks at the BalletNY company and notes that BalletNY has become a well known and respected dance Company. The writer discusses BalletNY's principal dancers. The writer concludes that the New York City Ballet has done what BalletNY hopes to do, acquire one of the largest, most faithful, intelligent, and enthusiastic audiences in the American theater world.
Outline:
Humble Beginnings
The Emergence of Ballet
Opra Ballet
Liberation Ballerina
Social Change
A Decline In Interest
The New York City Ballet and BalletNY: Full Circle
Bibliography
From the Paper
"Formerly DanceGalaxy, BalletNY was founded in 1997 by former New York City Ballet Principal Ballerina Judith Fugate and International Guest Artist Medhi Bahiri. BalletNY is comprised of accomplished principals and soloists who have danced with leading American and international ballet companies such as New York City Ballet, American Ballet Theatre, Dance Theater of Harlem, and the Joffrey Ballet, among others."
"Judith Fugate is a former principal ballerina with the New York City Ballet. She has danced roles in virtually every ballet in the NYCB repertoire counting Peter Martins and Mikhail Baryshnikov among her many famous partners. In 1997, she left the New York City Ballet Company to purse a career as a freelance Guest Artist and Co-Artistic Director of what is now known as BalletNY."
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Roman Theatre, 2006.
This paper discusses Roman theatre and its history.
1,461 words (approx. 5.8 pages), 6 sources, MLA, AU$ 70.95
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Abstract
This paper discusses Roman theatre and explains that it was vastly influenced by the Greek theatre although they have many differences. The paper provides an outline of the general history of Roman theatre and discusses how the Roman theatre gives us an insight on the Romans and their culture. The paper relates that it has played an important part in the beginning and evolution of the European theatre.
From the Paper
"The Roman theatre faced some problems in the beginning due to the fact that the audience was distracted by other events. The first performance of Hecyra was a ruin because the audience was distracted by the boxers and the rope dancer. The second performance was again a disaster as people heard of a rumor that a "gladiatorial display was about to take place" (W. Beare, p.165). The stage was a wooden one and some people hold the view that at a time the Romans had created a revolving stage. This is not considered as an authentic historical record of the history of Roman theatre. The actors and their dressing rooms were located behind the stage."
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The Elizabethan and Jacobean Theater.
This paper is an extensive discusses of the history of Elizabethan theater, which existed during the reign of Queen Elizabeth I, and the Jacobean theater, which followed Elizabethan theater in the reign of James I.
6,960 words (approx. 27.8 pages), 18 sources, MLA, AU$ 227.95
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Abstract
This paper explains that the most expressive period in the history of the English theatre was the period of Queen Elizabeth I, the second half of the 16th century in which William Shakespeare was the most significant dramatist of the period. The author points out that Philip Henslowe, a well-known theater manager of the time, left a diary, which recorded the organization of theater companies, the props, the plays, the dramatists, and even the building of the theater itself. The paper relates that, in the Jacobean theater, which is considered to be a continuation of the Elizabethan period, the plays of Shakespeare and his contemporaries were written more to cater to the tastes of the affluent society; the closest modern corollary to these plays is popular cinema, with its films of adventure, violence, horror, or sentimental romance.
From the Paper
"Thus by the period that Shakespeare was writing his plays, there were more playhouses in London than in any other European city. The plays were enacted in the courtyard of inns, or sometimes in the houses of noblemen, before this period. But a noble had to be watchful as to which play should be permitted to perform in his house. Anything that was contentious or political was prone to get him in problem with the crown. Not much is known about the Elizabethan indoor theatres as they were smaller in size and were roofed. Companies did their shows in winter when it was too cold to be outside, signifying that the performance was almost certainly alike. Actors had attained an adequate level of monetary and social strength, by the time of Shakespeare."
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Italian Renaissance Theatre, 2002.
A discussion of the Commedia Del Arte Theatre and contributions of Italian Renaissance theatre to Western theater.
1,453 words (approx. 5.8 pages), 8 sources, MLA, AU$ 70.95
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Abstract
This paper is in two parts. The first part discusses the Commedia Del Arte or drama that employs comedy and has a happy ending, which began during the Italian Renaissance. It examines its origins and its popularity as well as its methods of acting. It evaluates its effect on modern comedy such as the concept of slapstick, timing in the repartee and romantic comedy. The second part outlines the other contributions of Italian Renaissance theatre to Western theater such as the introduction of the profession of acting and theatre and set design.
From the Paper
"Commedia Del Arte made many contributions to modern comedy. First, timing was important in the repartee and has been in comedy ever since. Second, slapstick comedy, such as that practiced by Chaplin, Keaton, and Lloyd is a direct descendent of Commedia Del Arte. Third, modern romantic comedy had it origins in the plots and characters of Commedia Del Arte. Finally, both situation comedy and animated cartoons employ elements of Commedia Del Arte (Suzuki; Commedia Dell?Arte)."
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Kabuki and American Theater, 2005.
An examination of how kabuki, a traditional form of Japanese theater, and American theater have had an impact on each other.
1,145 words (approx. 4.6 pages), 5 sources, MLA, AU$ 57.95
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Abstract
This paper examines how three main groups of kabuki plays, the dance-drama, historical drama, and domestic drama make up the majority of kabuki theater and how they are adapted either from puppet theater, from kyogen dramas, or plays written specifically for kabuki. It looks at how Tokyo's Shochiku Company is one theatrical group that has made an impact on American theater by presenting kabuki in the heart of the U.S., in Texas.
From the Paper
"Kabuki has its origin in Japan's Edo period. The form can be traced back to performances by female shrine dancer Okuni in a dry riverbed in 1603. The dances performed by Okuni and her fellow female dancers combined religious dances and folk dance. Okuni's performances became highly popular, and many troupes soon imitated the style. Performances became increasingly risqu? and boisterous, and women were banned from performing in 1629. In 1652, a brawl between two samurai competing for the attentions of a young male actor spurred authorities to ban young men under the age of 14 from appearing in kabuki (Spencer)."
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The Theater of Dionysus, 2004.
This paper discusses the ancient Greek theater and the area in which the drama was presented called the Theater of Dionysus.
1,110 words (approx. 4.4 pages), 6 sources, APA, AU$ 56.95
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Abstract
This paper explains that the evolution of theater in Greece may be linked directly to the festivals of Dionysus, the Grecian god of wine and misrule. The author points out that Greek theaters, including the theater of Dionysus, were not free-standing works of architecture, but rather they were built into hills in amphitheater forms. The theaters of Lycurgus replaced the original wood of the Dionysus theater with stone, reaffirming the importance of theater in the city of Athens' civic and religious life, which continued well into Hellenistic times, culminating in the Romans' added changes to the structure and including the addition of the Bema.
Table of Contents
History of Theater in Ancient Greece
Architecture of Greek Theaters
Parodos
Bema of Phaidros
The Central Section
Marble Throne of the Priest of Dionysus Eleutherios and Other Priests' Seats
Skene
The Stoa on the South Side of Skene
From the Paper
"The parodos of the Theater of Dionysus was a gangway leading into the orchestra over which chorus and actors made their entrances. There are two parodoi, one on each side of the orchestra. Parodos was also the name of the song chanted by the chorus as they entered the orchestra at the beginning of the play. This is another indication of the fusion of the role of ritual, the role of the chorus, and the role of architecture in early Greek theater."
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Political Theater, 2004.
Shows how El Teatro Campesino Theater and The Bread and Puppet Theater exemplify examples of political theatre.
959 words (approx. 3.8 pages), 3 sources, MLA, AU$ 50.95
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Abstract
Political theater, at its best, emphasizes an important societal issue of the day and delivers a message to viewers of all backgrounds and interests without being a political party line or single-dimensional in nature. This paper examines two theaters in this category, El Teatro Campesino from California and The Bread and Puppet Theater in New York. It describes the formation and history of these two theatrical companies and examines their messages through the shows which they produce.
From the Paper
"El Teatro is popular theater geared toward expression of social, political and cultural messages. It is a theater rooted in the American streets, early California history, Mayan/Aztec mythology and Mexican folklore and spiritualism (Heyward). It cannot be ignored. Valdez, like Schumann believes in a total theater?one where an elevation of sensation is achieved through a range of different emotions and art forms to make the audience more politically aware."
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Postmodernism in Theater, 2004.
A review of different forms of theater in the Western world and how theater has evolved as an art over the past few centuries.
1,724 words (approx. 6.9 pages), 2 sources, MLA, AU$ 80.95
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Abstract
The purpose of this paper is to see how the society has changed in retrospect to the period from modernism to postmodernism, creating awareness to different perspectives on analysis in today's world. It attempts to show how the best way this can be understood is through the developments in the world of theater and how the theater functions as an artifact and a metaphor of the times.
Outline
Different Forms of Theater
Postmodern Theater
Actors and Audiences
Robert Wilson
Peter Brook
From the Paper
"The modern theater is characterized by a narrative plot where the actors play out roles of everyday people who tell a story based on life's tragedies and conflicts, with the unfolding tragedy or comedy developing at a beginning and ending with the last act of the play. The aim of these plays is to stretch the audience's comprehension of existing reality, to being forward the truth that is basically obscured. Even though the results of the actors' behaviors are mostly tragic. The audience becomes emotionally aroused with the characters of the play. This is seen in reactions to Willy Loman in the play Death of a Salesman and in Blanche DuBois play, A Streetcar Named Desire."
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The Manitoba Theatre Centre, 2004.
A study of Canada's first regional theatre and its goal to achieve the establishment of a uniquely Canadian art and culture scene through experimental theatre.
2,392 words (approx. 9.6 pages), 12 sources, APA, AU$ 107.95
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Abstract
This paper considers the state of theatre in Canada and Winnipeg prior to the creation of the Manitoba Theatre Centre in 1958, looking at the goals of the Massey Commission in promoting the development of a Canadian culture. It also looks at the intentions of Theatre 77 and the Winnipeg Little Theatre in their merger to become the Manitoba Theatre Centre. The main body of the analysis is concerned with the mandate of the Manitoba Theatre Centre. Finally, consideration is also given to an additional fourth goal introduced later in the Centre's history that was concerned with encouraging the production of Canadian plays.
Outline
Introduction
Setting the Scene: The State of Theatre in Canada and Winnipeg and the Establishment of the Manitoba Theatre Centre
Goal A
Goal B
Goal C
Goal D
The Legacy and Prospects for the Centre as it Entered the 1980s
From the Paper
"Canadian theatre, in the 1950s, consisted mostly of amateur societies, with professional theatre only really finding a niche in Toronto. The Massey Commission Report of 1951 was concerned with the state of Canadian culture and its tendency to import art from other cultural centres, such as New York and London. The Massey Commission's Report outlined steps to create a government body that would grant funds to art programmes to promote a national culture. Such a concern had been similarly expressed by other major figures in Canadian theatre, some of whom had suggested that if the state of the theatre were to improve, it would require a national theatre that would tour the country with several permanent provincial theatre buildings to house professional productions (Massey 55). "
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