A History of the Theatre (Performing Arts) by Glynne Wickham

By Glynne Wickham

During this masterly survey, Glynne Wickham outlines the improvement of drama in the course of the international over the past 3,000 years, from its origins in primitive dance rituals all of the solution to the very finish of the 20 th century. hugely readable, incisive and deeply imbued with a private point of view that stresses the primacy of concert, Wickhams erudite paintings is predicated on a lifetimes useful event as a instructor, researcher director. A historical past of the Theatre is the right creation to the topic for all fanatics of the theatre, and an authoritative textbook for college kids.

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Also to be copied and absorbed into the social life of the neighbouring countries stretching from Turkey and the century, Rome and the Hellenistic World, BC-AD 200 1 THE EUROPEAN HERITAGE OF ROMAN DRAMA AND THEATRE If drama the that survives to us in Latin has been generally dismissed by posterity as inferior to that obvious reason both in much that in Greek, the most Roman drama was so largely derived respect of play scripts and theatre buildings Greek models On inality. is as to allow little scope for the other hand, as Roman from genuine orig- colonization spread and west than its Greek antecedent, Greek as the lingua franca of the Western world and held that position for i,6oo years, and further north as Latin both superseded posterity devoted much more and Latin plays than reasons a more to Roman drama and attention to theatre practice have exercised and far-reaching influence upon lasting theatres Greek equivalents.

Diluting in folk entertainments native to these other countries to Three of a set of seven Attic terracotta statuettes of actors Middle Comedy, 375-350 bc. Figures like these were popular souvenirs and were widely exported in the Hellenistic world. 225). his club (Fig. 8). All these stage-conventions to survive the collapse of the Greek and were destined Roman civilization and to spring to life again in the theatres of medieval Europe and those of the Renaissance. them acceptable make performance there.

Copyists and become an actor's theatre. Only in southern Italy, and not then until the second and first centuries bc, is any evidence forthcoming of a conscientious effort to recreate in another language types of comedy and tragedy where the provision of plot, character and dialogue again became the prerogative of a dramatic poet, allowing the theatre to be regarded as an educational force within society instead imitators used these originals for purposes of adaptation, of simply as a source of entertainment.

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