YEAR 8 HANDBOOK Student Handbook

Total Page:16

File Type:pdf, Size:1020Kb

YEAR 8 HANDBOOK Student Handbook WGHS DRAMA YEAR 8 HANDBOOK Student Handbook Name:……………………………………………………………… Form:………………………………………………………………. EST [email protected] Year 8 Scheme of Work You will spend the year working practically in class and at the same time working through this handbook. You will be assessed on the performances that you give throughout the course. These will test your acting skills and understanding of how drama works. You will also be tested on your knowledge of Drama in the summer exam. Unit of Work Name of Scheme Method of Assessment 1 Commedia dell’Arte Group Performance + Summer Exam 2 Sound and Music Summer Exam 3 Improvisation Skills Pair Performance + Summer Exam 4 Creating Tension Group Performance + Summer Exam 5 Documentary Theatre Group Performance + Summer Exam Year 8 Drama Keywords Commedia dell’Arte Foley Lazzi Echo Scenario Reverb Improvisation Distortion Stock Character Filter Pantalone Cue Il Dottore Underscore Arlecchino Motif Il Capitano Instrumentation Isabella Orchestration Ottavio Accepting Columbina Blocking Pulcinella Advancing Brighella Objective Vecchi Corpsing Zanni Suspense Innamorati Tension Soundscape Sympathetic Suspense Sound effect Dramatic Irony SFX Suspense of Ignorance Recorded Sound Performance Suspense Live Sound Conflict Diegetic Rising Tension Non-Diegetic Climax Volume Anti-Climax Fade Documentary Theatre Crossfade Docudrama Verbatim Theatre Living Newspaper Drama Skills and Levels CREATING PERFORMING EVALUATING Level I work as part of a group and can I remember some lines and co-operate I can discuss the plot of a play. I can co-operate with others. I can create with others on stage. I can show a write/talk in simple statements about a simple character and develop simple role through speech, movement my practical work and identify some some speech in role. I can focus and gesture. I sometimes face the targets for improvement. 3 for some of the time in rehearsal. audience. I listen to and co-operate with I remember most of my part and stay in I can identify features of good others, sometimes suggesting role for most of my performance. I can performance work. I can write/talk in ideas to develop my own role. I can speak in role and show some support full sentences about my strengths and create a character who is different for others on stage. I am aware of what weaknesses and identify targets for from myself. I can stay focused for I want to communicate to an audience. improvement. 4 most of the time in rehearsal. I can stay focused throughout I can speak clearly and use movement I can identify strengths and rehearsal and suggest some ideas and gesture to show a character. I can weaknesses in both my work and that to develop the work and roles. I stay in role on stage and provide of others. I can write/talk thoughtfully can create a well-developed reasonable support for others in about the skills and processes of character with a viewpoint different performance. I can convey ideas to an drama. My writing shows a 5 from my own and shape work into audience through my stage work. reasonable level of literacy. a satisfactory dramatic structure. I suggest lots of ideas to develop work and roles, helping others I have good voice and movement skills I can compare drama interpretations, sensitively in rehearsal. I can and can convey well- sustained and approaches and styles. My create drama in a variety of styles convincing characters with confidence evaluations show a high level of and devise a range of well- and some originality. I support others understanding of the skills and developed characters with well on stage. I can convey complex processes of drama through extended 6 extended roles. I can use some ideas to an audience through my stage writing/speaking and a good level of exploratory drama techniques. work. literacy. I can lead others sensitively, I have excellent control over all aspects I can analyse and evaluate keeping a positive working of stage performance, showing playscripts, styles and genres atmosphere and making confidence, originality and commitment perceptively. I write/talk analytically contributions which significantly in role. I provide sensitive support for and in depth about drama skills, improve the effectiveness of the others on stage, and my performance processes and techniques using 7 work. I can develop a variety of has a major contribution in conveying drama terminology and show a high characters and create and explore the play’s intentions to an audience. level of literacy. drama for a range of purposes. I work with total commitment and I have complete control over all aspects I show an excellent understanding of sensitivity in a group, leading and of stage performance and can display drama genres, styles, conventions inspiring others. I experiment originality and create impact within a and techniques. My evaluation is creatively with drama conventions range of acting styles. I support other perceptive, analytical and detailed, and techniques, using my own performers superbly and demonstrate a showing original insight. I use drama 8 initiative to develop work with a very high level of audience awareness. terminology with accuracy and display high degree of originality. excellent literacy skills. Performance Report Levels and Scores LEVEL WHAT MY PERFORMANCE LOOKS LIKE Score GRADE 89- A1 6 or I demonstrate outstanding use of acting skills, 100 above working highly effectively with others to create a highly original and effective performance with strong awareness of audience. Exceptional. 76-88 A2 5 I demonstrate excellent use of acting skills, working effectively with others to create an original and effective performance with secure awareness of audience. Excellent. 63-75 A3 4/5 I demonstrate very good use of acting skills, working very well with others to create an engaging and effective performance with very good awareness of audience. Very good. 50-62 B1 4 I show good use of acting skills, working well with others to create a competent and mostly effective performance with good awareness of audience. Good. 39-50 B2 3/4 I show reasonable use of acting skills supporting others to create a coherent and reasonably effective performance with reasonable awareness of audience. Reasonable. 26-38 C 3 I show some use of acting skills, contributing to the performance in a competent performance with some awareness of audience. Satisfactory. 13-25 D 3 or I show restricted use of acting skills, offering little in below the way of performance and difficult awareness of the audience. Restricted. 1-12 E Below 3 I show little use of acting skills, offering nothing in the way of performance with no recognition of the audience. Little. Unit 1: Commedia dell’Arte Exercise 1.1: The Background to Commedia dell’Arte Commedia dell’Arte was a very popular form of theatre that grew up in Italy in the 16th Century. The phrase means literally Links to Commedia Resources “The Comedy of Art” but can also be translated as “The https://youtu.be/SNWlW-pABQs Professional Theatre”. http://www.factionoffools.org/includes/Curriculu m%20Guide%202011.pdf It has influenced lots of comedy and theatre over the centuries, http://www.bbc.co.uk/programmes/p01s0j8t including Shakespeare, pantomime, silent movies and sit-coms! http://www.bbc.co.uk/education/guides/zpfk6sg/ Commedia uses masks, physical comedy, improvisation and revision/5 character types that are seen again and again. These are called stock characters. http://libguides.tts.edu.sg/c.php?g=48365&p=30 9148 The three types of main characters: Vecchi – Old Men and masters Innamorati – young lovers, usually the sons and daughters of masters Zanni – servants and slaves The commedia troupe would travel around and perform on temporary stages in public areas, such as plazas. The actors would improvise their lines around a scenario – a well-known story that had been agreed before the show. Many of the actors were skilled at dancing, acrobatics and music. As part of the show, many actors would have set comic routines, called lazzi – (Italian for ‘joke, comic routine). These could be sometimes quite rude! Unlike Shakespeare, Commedia became famous for employing female actresses, including Vincenza Armani, who is the fest documented female actor in theatre history, performing in 1566. We get the term primadonna, which means ‘first lady’ from female actors in Commedia. Look at the images on the previous page. Can you tell anything about the style of performance? Imagine you were describing how a Commedia performance looks in real life. Write a description below: Choose three of the characters listed below. Researching each character on the internet, find out as much as you can about their appearance, movement and character type. Draw and describe in the space below: Pantalone Il Dottore Arlecchino Il Capitano Isabella Ottavio Columbina Pulcinella Brighella Unit 1.2: Lazzi and Thinking Funny! There were hundreds of lazzi routines that were featured in Commedia performances. Although all of them have a simple idea but it would be up to the actor to improvise around the idea and keep the audience laughing. The best actors could keep a lazzi going for a long time! Examples of Lazzi: Lying Lazzo Zanni makes up lies and lies, each more stupid than the last. Optionally, the stupidest lie he thinks of is what convinces the others of his honesty. Doctor Lazzo Zanni disguises himself as a doctor, and prescribes ridiculous and obviously lethal remedies to his patients. Tasting Lazzo A zanni is cooking a pot of something for dinner. He continually seasons the dish, then tastes it, then adds more seasoning, tastes again, and this goes on until there is no food left in the pot. Revival Lazzo Woman pretends to faint or die. Zanni enters and suggests that the way to revive her is pull her hair or twist her limbs.
Recommended publications
  • Miser Survey
    Which Miser Character Are You? By Kelly Terry Take the quiz below to find out! Count up the number of $ signs to get your total. You see a dollar bill lying on the sidewalk. You immediately: a) Pick it up and put it in your pocket – hey, you could use an extra dollar. $$ b) Take yourself down to Taco Bell and enjoy a delicious taco treat. $ c) Carefully deliver it to the local police station. Hopefully the dollar and its rightful owner can be reunited. $$$ d) Panic. Perhaps you have been robbed and this stray bill is evidence! You must go count your fortune! $$$$ Oh how you love your lovely love! Come to think of it, why do you love your love? a) Her eyes, her lips, her hair, her voice… $$ b) She doesn't eat much, so you save a bundle on the grocery bill. $$$$ c) You have a long, colorful history together, full of close calls, practical jokes, and the occasional bit of trickery. $ d) He defended your honor – your real-life white knight! $$$ You have a bit of extra cash. What would you spend it on? a) The latest fashion. It’s important to look your best! $$ b) A beautiful wedding. No price is too high for love! $$$ c) A loan. Lending money – with interest – is a great way to build wealth! $$$$ d) Tasty vittles. Good food is one of the joys of life! $ What would you say is your best quality? a) Fiscal wisdom $$$$ b) A biting wit $ c) Your boundless passion $$ d) Your ability to remain calm and composed – in any situation $$$ You travel back in time to tell yourself some crucial information.
    [Show full text]
  • Scaramouche and the Commedia Dell'arte
    Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche.
    [Show full text]
  • Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
    Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles.
    [Show full text]
  • Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
    UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles.
    [Show full text]
  • Dr. Harlequin, Script
    DR. HARLEQUIN, Or, THE IMAGINARY AUTOPSY by Marco Luly characters Dottore, doctor in medicine Pantalone, his friend Laura, wife of Dottore Isabella, daughter of Dottore Colombina, servant in the house of Dottore Lelio, son of Pantalone Arlecchino, servant of Lelio Capitano, foreigner soldier Zanni, villain Hand Servant Prompter 0 Pre-Pre-Prologue Everyone ALL: warm-up improve, crossing SR // SL, never leaving Dottore alone. DOTTORE: 5 min. to places. ALL: Thank you five. (Dottore exits. HS. & P. enter ) HAND SERVANT Unbelievable. PROMPTER Ridiculous. HAND SERVANT Preposterous. PROMPTER Impossible. HAND SERVANT Orazio is an imbecile, how does he expect us to buy 11 costumes with a budget of $23 dollars. PROMPTER ( pulling a quarter from his pocket ) $23 and a quarter. HAND SERVANT You found a quarter? PROMPTER Yeah. HAND SERVANT Gimme that. PROMPTER With that little money, we could only rent them. HAND SERVANT Well at lest were set for tonight. PROMPTER What about tomorrow? HAND SERVANT I don’t know. PROMPTER Maybe they can do the show naked, we’ll sell more seats. HAND SERVANT I don’t know about that: have you seen the girls in the show? PROMPTER 11 costumes… HAND SERVANT …and on top of that… S & PROMPTER …A MONKEY! HAND SERVANT Where are we going to find a monkey? PROMPTER Maybe we can get one from ... HAND SERVANT Yeah, … is full of monkeys. PROMPTER Seriously, they raise our tuition, lower our budgets and don’t even have the decency to get us a healthy monkey. DOTTORE: Curtain in 1 min. HAND SERVANT Hey, we forgot the curtain.
    [Show full text]
  • Commedia Dell'arte, Theatre of the Professional
    STUDENT DAY EDUCATIONAL CREATIVITY CONTEST Commedia Dell’Arte was an early form of professional theatre, originating from Italy, that was popular in Europe from the 16th through the 18th century. Commedia is a form of theatre characterized by masked character "types" that represent fixed social types and stock characters, which are exaggerated forms of “real characters”, such as a know-it-all doctor, a greedy old man, or a perfect relationship. Traditional commedia Dell’Arte is not about realism or creating well-rounded, three-dimensional characters, so most of the roles only have a couple traits to them around which the whole personality is defined. They rarely ever have any complex or sympathetic reasons for their behavior, and anything they do or feel, they do or feel to extremes. Please find a list of characters on the back of this sheet for assistance in writing the essay/play. Elementary Grades 1 – 6: Identifying and Creating Characters Grades 1-3: 150—200 words & Grades 4-6: 350 words. Judged based upon creativity and originality Option I: Characters You Know: Commedia Dell’Arte characters commonly appear in media, including kids movies and books! Choose a character from your favorite book or movie, tell us about them. Which Commedia role do they fill? (For simplicity, younger students can equate characters to their simple counterpart, such as “Doctor”, “Maid”, “Captain”). Option II: Characters You Create: It’s fun to make up characters for your very own stories! Create your own character based on one of the roles listed, and write a short story involving them.
    [Show full text]
  • Influence of Commedia Dell‟Arte on Stravinsky‟S Suite Italienne D.M.A
    Influence of Commedia dell‟Arte on Stravinsky‟s Suite Italienne D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Doctor of Musical Arts In the Graduate School of The Ohio State University By Sachiho Cynthia Murasugi, B.M., M.A., M.B.A. Graduate Program in Music The Ohio State University 2009 Document Committee: Kia-Hui Tan, Advisor Paul Robinson Mark Rudoff Copyright by Sachiho Cynthia Murasugi 2009 Abstract Suite Italienne for violin and piano (1934) by Stravinsky is a compelling and dynamic work that is heard in recitals and on recordings. It is based on Stravinsky‟s music for Pulcinella (1920), a ballet named after a 16th century Neapolitan stock character. The purpose of this document is to examine, through the discussion of the history and characteristics of Commedia dell‟Arte ways in which this theatre genre influenced Stravinsky‟s choice of music and compositional techniques when writing Pulcinella and Suite Italienne. In conclusion the document proposes ways in which the violinist can incorporate the elements of Commedia dell‟Arte that Stravinsky utilizes in order to give a convincing and stylistic performance. ii Acknowledgments I would like to express my sincere gratitude to my advisor, Dr. Kia-Hui Tan and my committee members, Dr. Paul Robinson, Prof. Mark Rudoff, and Dr. Jon Woods. I also would like to acknowledge the generous assistance of my first advisor, the late Prof. Michael Davis. iii Vita 1986………………………………………….B.M., Manhattan School of Music 1988-1989……………………………….…..Visiting International Student, Utrecht Conservatorium 1994………………………………………….M.A., CUNY, Queens College 1994-1995……………………………………NEA Rural Residency Grant 1995-1996……………………………………Section violin, Louisiana Philharmonic 1998………………………………………….M.B.A., Tulane University 1998-2008……………………………………Part-time instructor, freelance violinist 2001………………………………………….Nebraska Arts Council Touring Artists Roster 2008 to present………………………………Lecturer in Music, Salisbury University Publications “Stravinsky‟s Suite Italienne Unmasked.” Stringendo 25.4 (2009):19.
    [Show full text]
  • A Thesis Presented to the Faculty of Alfred University Clowning
    A Thesis Presented to The Faculty of Alfred University Clowning as an Act of Social Critique, Subversive and Cathartic Laughter, and Compassion in the Modern Age by Danny Gray In Partial Fulfillment of the Requirements for The Alfred University Honors Program May 9th, 2016 Under the Supervision of: Chair: Stephen Crosby Committee Members: M. Nazim Kourgli David Terry “Behind clowns, sources of empathy, masters of the absurd, of humor, they who draw me into an inexplicable space-time capsule, who make my tears flow for no reason. Behind clowns, I am surprised to sense over and over again humble people, insignificant we might even say, stubbornly incapable of explaining, outside the ring, the unique magic of their art.” - Leandre Ribera “The genius of clowning is transforming the little, everyday annoyances, not only overcoming, but actually transforming them into something strange and terrific. It is the power to extract mirth for millions out of nothing and less than nothing.” - Grock 1 Contents Introduction 3 I: Defining Clown 5 II: Clowning as a Social Institution 13 III: The Development of Clown in Western Culture 21 IV: Clowns in the New Millennium 30 Conclusion 39 References 41 2 The black and white fuzz billowed across the screen as my grandmother popped in a VHS tape: Saltimbanco, a long-running Cirque du Soleil show recorded in the mid-90’s. I think she wanted to distract me for an hour while she worked on a pot of gumbo, rather than stimulate an interest in circus life. Regardless, I was well and truly engrossed in the program.
    [Show full text]
  • One Man, Two Guvnors by Richard Bean Based on the Servant of Two Masters by Carlo Goldoni, with Songs by Grant Olding Background Pack
    One Man, Two Guvnors by Richard Bean based on The Servant of Two Masters by Carlo Goldoni, with songs by Grant Olding Background pack The National's production 2 Carlo Goldoni 3 Commedia dell'arte 4 One Man, Two Guvnors – a background 5 Lazzi – comic set pieces 7 Characters 9 Rehearsal overview 10 In production: from the Lyttelton to the Adelphi 13 In production: Theatre Royal Haymarket 14 Richard Bean interview 15 Grant Olding Interview 17 Further production detailsls: This background pack is Director Learning Workpack writer www.onemantwoguvnors.com published by and copyright Nicholas Hytner National Theatre Adam Penford The Royal National Theatre South Bank Board London SE1 9PX Editor Reg. No. 1247285 T 020 7452 3388 Ben Clare Registered Charity No. F 020 7452 3380 224223 E discover@ Views expressed in this nationaltheatre.org.uk Rehearsal and production workpack are not necessarily photographs those of the National Theatre Johan Persson National Theatre Learning Background Pack 1 The National’s production The production of One Man, Two Guvnors opened in the National’s Lyttelton Theatre on 24 May 2011, transferring to the Adelphi from 8 November 2011; and to the Theatre Royal Haymarket with a new cast from 2 March 2012. The production toured the UK in autumn 2011 and will tour again in autumn 2012. The original cast opened a Broadway production in May 2012. Original Cast (National Theatre and Adelphi) Current Cast (Theatre Royal Haymarket) Dolly SuzIE TOASE Dolly JODIE PRENGER Lloyd Boateng TREvOR LAIRD Lloyd Boateng DEREk ELROy Charlie
    [Show full text]
  • Crossing Boundaries Through La Commedia Dell'arte
    Brigham Young University BYU ScholarsArchive Theses and Dissertations 2007-08-15 Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte Janine Michelle Sobeck Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Film and Media Studies Commons, and the Theatre and Performance Studies Commons BYU ScholarsArchive Citation Sobeck, Janine Michelle, "Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte" (2007). Theses and Dissertations. 1200. https://scholarsarchive.byu.edu/etd/1200 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. ARLECCHINO’S JOURNEY: CROSSING BOUNDARIES THROUGH LA COMMEDIA DELL’ARTE By Janine Michelle Sobeck A thesis submitted to the faculty of Brigham Young University In partial fulfillment of the requirements for the degree of Master of Arts Department of Theatre and Media Arts Brigham Young University December 2007 Copyright © 2007 Janine Michelle Sobeck Al Rights Reserved ii BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL Of a thesis submitted by Janine Michelle Sobeck This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. __________________________ ___________________________________ Date Megan Sanborn Jones,
    [Show full text]
  • Miming Modernity: Representations of Pierrot in Fin-De-Siècle France
    Southern Methodist University SMU Scholar Art History Theses and Dissertations Art History Spring 5-15-2021 Miming Modernity: Representations of Pierrot in Fin-de-Siècle France Ana Norman [email protected] Follow this and additional works at: https://scholar.smu.edu/arts_arthistory_etds Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Modern Art and Architecture Commons Recommended Citation Norman, Ana, "Miming Modernity: Representations of Pierrot in Fin-de-Siècle France" (2021). Art History Theses and Dissertations. 7. https://scholar.smu.edu/arts_arthistory_etds/7 This Thesis is brought to you for free and open access by the Art History at SMU Scholar. It has been accepted for inclusion in Art History Theses and Dissertations by an authorized administrator of SMU Scholar. For more information, please visit http://digitalrepository.smu.edu. MIMING MODERNITY: REPRESENTATIONS OF PIERROT IN FIN-DE-SIÈCLE FRANCE Approved by: _______________________________ Dr. Amy Freund Associate Professor of Art History _______________________________ Dr. Elizabeth Eager Assistant Professor of Art History _______________________________ Dr. Randall Griffin Distinguished Professor of Art History !"Doc ID: ec9532a69b51b36bccf406d911c8bbe8b5ed34ce MIMING MODERNITY: REPRESENTATIONS OF PIERROT IN FIN-DE-SIÈCLE FRANCE A Thesis Presented to the Graduate Faculty of Meadows School of the Arts Southern Methodist University in Partial Fulfillment of the Requirements for the degree of Master of Art History by Ana Norman B.A., Art History, University of Dallas May 15, 2021 Norman, Ana B.A., Art History, University of Dallas Miming Modernity: Representations of Pierrot in Fin-de-Si cle France Advisor: Dr. Amy Freund Master of Art History conferred May 15, 2021 Thesis completed May 3, 2021 This thesis examines the commedia dell’arte character Pierrot through the lens of gender performance in order to decipher the ways in which he complicates and expands understandings of gender and the normative model of sexuality in fin de siècle France.
    [Show full text]
  • The New World Mythology in Italian Epic Poetry: 1492-1650
    THE NEW WORLD MYTHOLOGY IN ITALIAN EPIC POETRY: 1492-1650 by CARLA ALOÈ A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Italian Studies School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham September 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT My thesis explores the construction of the New World mythology as it appears in early modern Italian epic poems. It focuses on how Italian writers engage with and contribute to this process of myth-creation; how the newly created mythology relates to the political, social and cultural context of the time; and investigates extent to which it was affected by the personal agendas of the poets. By analysing three New World myths (Brazilian Amazons, Patagonian giants and Canadian pygmies), it provides insights into the perception that Italians had of the newly discovered lands in the Sixteenth and Seventeenth Centuries, as well as providing a greater understanding of the role that early modern Italy had in the ‘invention’ of the Americas.
    [Show full text]