The Cea Forum 2012
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THE ELIZABETHAN STAGE AS TRIBUTARY: MERCANTILISM, NATIONALISM, and SOCIAL MOBILITY in THREE POPULAR DRAMAS a Thesis Submitted To
THE ELIZABETHAN STAGE AS TRIBUTARY: MERCANTILISM, NATIONALISM, AND SOCIAL MOBILITY IN THREE POPULAR DRAMAS A Thesis Submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts In the Department of English University of Saskatchewan Saskatoon By Adam Benn Keywords: Dekker, Heywood, Renaissance Drama, Mercantilism, Nationalism, Tudor Theatre. Copyright Adam Benn, August, 2011. All rights reserved. Permission to Use In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of English 320 Arts Building University of Saskatchewan 9 Campus Drive Saskatoon, Saskatchewan S7N 5A5 Canada Benn i ABSTRACT This thesis examines the relationship between social mobility, early mercantilism, and nationalism in three Elizabethan Popular Dramas: Thomas Dekker's The Shoemaker's Holiday, and Thomas Heywood's The Fair Maid of the West, Part I, and The Four Prentices of London. -
DRAMA KIDS COSTUME SUGGESTIONS for “PARADESIA” Dear Parents: Children Doing “Paradesia” Need to Dress As Though They Live on a Tropical Island
DRAMA KIDS COSTUME SUGGESTIONS FOR “PARADESIA” Dear Parents: Children doing “Paradesia” need to dress as though they live on a tropical island. Our end of the year performance will have a Hawaiian feel. Our performance weekend is May 13-14. They will have a dress rehearsal in class the week prior to the performance. They will need to “show” their costume to their teacher 2 weeks prior to their performance (you can text or email us a picture or bring it in to the class). Then, on their show date, they will need to arrive at the Glenridge Theatre in costume and make- up for their final dress rehearsal and performance. Look at Wal-Mart, Walgreens, Goodwill/Salvation Army, Party Stores, swim stores, on-line, or consignment stores for costumes pieces. Call (941) 922-8121 if you have any questions. Girls: Girls should wear bathing suits with a floral/tropical print or bright color. They should wear a sarong, wrap-around type skirt or large scarf/fabric piece tied around their waist or around neck so as to create an “island-type” skirt/dress. They may also wear a Hawaiian sundress. They can accessories with leis, flowers in their hair, anklets and shell necklaces. *NO GRASS SKIRTS OR COCONUTS. Boys: Boys should wear a bright, tropical print bathing suit or shorts. They should go shirtless, but may wear a Hawaiian print shirt if they are self-conscious or matching tank top. They can also wear shell necklaces, anklets and leis to accessorize. Bare Feet: All children will perform with bare feet. -
Qinqiang Opera Drama Costume Connotation and Aesthetic
2nd International Conference on Education Technology, Management and Humanities Science (ETMHS 2016) Qinqiang opera drama costume connotation and aesthetic implication 1, a Yugang Chen 1Jiangxi Institute of Fashion Technology, Jiangxi, Nanchang, 330201 [email protected] Keywords: Qinqiang opera drama; Clothing; The cultural connotation Abstract. Qinqiang opera drama is one of the most exquisite stylized performance of traditional Chinese local operas. Qinqiang opera drama clothing, and other theatrical performances of traditional clothing similarity is exquisite and stylized, decorative effect as well as the audiences in the symbolization of abstract feelings, dramatic clothes in qinqiang opera drama very expressive aesthetics and art. Introduction Qinqiang opera drama as a traditional Chinese drama conductions, its dramatic clothes also represents the character appearance of traditional drama clothing, under the stylized costumes or wear shows of the respect and inheritance on traditional culture. Studies of qinqiang opera costume for one of the models, style characteristic, found that it contains the cultural connotation and aesthetic implication, the essence of traditional clothing, for the development of qinqiang opera drama has a positive and far-reaching significance. The formation of Qinqiang opera drama clothing Qin has been active in shanxi, gansu and the northwest region is the vast land of an ancient opera. The earliest qinqiang opera originated in shanxi guanzhong area, from the perspective of the change of type c, Qin Sheng, qin three stages. In the qianlong period reached for her best. From the point of geography, shanxi, gansu, ningxia, qinghai, xinjiang northwest five provinces close to geographical culture, so the ancient qin, with its wide sound big voice spoke quickly popular in this area. -
Surrealist Documentary As a Mode of Confrontation
2021 THE PROVOCATIVE SCREEN: Surrealist Documentary as a Mode of Confrontation BY MACY MEYER Senior Honors Thesis Department of English & Comparative Literature University of North Carolina at Chapel Hill 03/29/2021 APPROVED: ____________ Acknowledgments I would like to start by thanking my thesis advisor, Rick Warner, for encouraging me to write this thesis and for supporting me every step of the way. Writing this thesis has been extremely difficult as I navigated both my senior year and the global pandemic, so I can only say that I finished this thesis thanks to Rick. I also must thank him for being such a significant influence on my ungraduated experience as a film major – through the six courses I have taken with him – from my first-year to my last. I also must thank Martin Johnson and Richard Langston for reading and evaluating my thesis, and providing support along the way. I must acknowledge that it is only with Dr. Langston’s instruction that I fell in love with experimental films after taking his course studying avant-garde cinema. I will forever appreciate my first introduction to surreal cinema. I have to thank my parents, Todd and Kathy, who have given me everything and beyond. Your love and guidance has been instrumental in accomplishing this thesis. Lastly, I must also thank my sister, Meredith, and my dear friend, Meg, for always taking my phone calls and providing moral support through all of the moments I was on the verge of quitting, or perhaps, insanity. This thesis is dedicated to my parents who simply said, “OK, great” when I told them I want to be a film major, who always believed I was capable of anything, and for being my biggest cheerleaders in life. -
Worms, Shadows and Whirlpools: Science in the Early Childhood Classroom
DOCUMENT RESUME ED 481 899 PS 031 648 AUTHOR Worth, Karen; Grollman, Sharon TITLE Worms, Shadows and Whirlpools: Science in theEarly Childhood Classroom. INSTITUTION Education Development Center, Inc., Newton,MA. SPONS AGENCY National Science Foundation, Washington, DC. ISBN ISBN-0-325-00573-7 PUB DATE 2003-00-00 NOTE 183p.; Foreword by Gretchen Owocki. CONTRACT ESI-9818737 AVAILABLE FROM Heinemann, Orders/Customer Service, P.O. Box6926, Portsmouth, NH 03802-6926 ($21) . Tel: 800-225-5800 (Toll Free); Fax: 603-431-2214; Web site:http://www.heinemann.com. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PC08 Plus Postage. DESCRIPTORS Academic Standards; Biological Sciences; ChildCare; Developmentally Appropriate Practices; *EarlyChildhood Education; Earth Science; Educational Practices; Kindergarten; National Standards; Physical Sciences; *Preschool Curriculum; Preschool Education; Science Curriculum; *Science Education; ScientificAttitudes; Scientific Concepts; Teacher Role; TeacherStudent Relationship; Teaching Methods; *Young Children IDENTIFIERS Content Learning; Project Head Start ABSTRACT Young children develop science knowledgeas they observe and act on the world, asking questions, making predictions,testing those predictions, and reflecting on their experiences. Thisbook offers guidance in integrating inquiry-based science into the earlychildhood curriculum, focusing on content and providing examples ofthe work of children and teachers from a variety of early childhood settings,including Head Start, kindergarten, day care, and preschoolprograms. Part 1 of the book provides an overview of important characteristics of a high-qualityscience program for children ages 3 to 5 and some of the importanttasks teachers perform to make it a reality. Part 2 concerns the content ofscience education for young children and begins with a chapteron inquiry, describing the important skills, ways of thinking, and attitudes thatare at the heart of scientific understanding and at the core of an effective early childhoodscience program. -
The Structure of Plays
n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago. -
The Beaux Stratagem Adil M
International Journal of English Literature and Social Sciences, 5(2) Mar-Apr 2020 | Available online: https://ijels.com/ The other Foot in George Farquhar’s: The Beaux Stratagem Adil M. Jamil Amman Arab University, Amman. Jordan. Abstract— This article is designed to highlight the innovation of George Farquhar in his play The Beaux Stratagem, and to illuminate the factors behind its everlasting appeal to audiences since its first performance in 1707 and after. The play still retains a magnificent appeal to all audiences for centuries, and remains alluring and fascinating to even the 21st Century audiences. Its magnitude lies in the sure-fire comic devices and witty characters as well in the profound insight adjoined the comic situations and events. As a transitional playwright, Farquhar has one foot in the declining traditions of the Comedy of Manners, and the other foot in the growing vogue of Sentimental Comedy, employing some character types of the old tradition with innovative alteration, together with introducing prototypes of the coming sentimental types. To keep pace with the shift in tone, he modifies the purpose of his play to suit the specifications of critics, moralists and theatre goers. With its innovative particulars, it sets an early premise for the approaching changes in the dramatic conventions and trends of the 18th Century comedies. More crucially, it forms a gateway to move into the world of sentimentalism, or a bridge between the two. Keywords— George Farquhar, The Beaux Stratagem, Comedy of Manners, Sentimental Comedy, Innovation of English Comedy. I. INTRODUCTION Aimwell dies unexpectedly, and his younger poor brother Farquhar’ play The Beaux Stratagem, has been a huge Aimwell inherits the title and estate of his deceased brother success since its first performance in 1707 on the Theatre and happily marries Dorinda. -
Medieval Arabic Shadow Plays: Ibn Dāniyāl and Others
chapter 7 Medieval Arabic Shadow Plays: Ibn Dāniyāl and Others Of the vast territories of the premodern Islamicate world, from Central Asia to Muslim Spain, Egypt is the only region that boasts an un-interrupted tradi- tion of shadow play production and performance. This chapter and the next two present an analytical documentation of all known Egyptian shadow plays. To begin: in many ways, the Mosul born and Cairo based Ibn Dāniyāl remains the sole representative figure of the entire history of Arabic shadow theatre in the pre-Ottoman time. The study of Ibn Dāniyāl has also largely been the primary focal point of modern scholarship on Arabic shadow theatre and has been summarized in the previous part of this book (especially chapters 2 and 3). This chapter is devoted to the documentation of his texts. As far as medieval Arabic shadow plays are concerned, an unconfirmed self-claimed “Mamluk era play” that was published in the 1960s will be briefly mentioned just for the record. 1 Ibn Dāniyāl’s Three Plays These plays depict the life and mores of Mamluk Cairo, with an outrageous comic flavor, featuring naïve storylines, caricatured characters, and foul lan- guage. A rare textual reservoir, they retain the special traits of the living lan- guage of the time, with elements of the so-called “tongue of the Banū Sāsān,” a hybrid of slangs and argot, a fusion of Arabic, Persian, and Turkic, attributed to a confederation of itinerant shysters. The title of each play contains the name(s) of the protagonist(s), and also alludes to the implied meanings of the words and the metaphorical significance of the subject of the play. -
The Suburbs and the City in Thomas Dekker's Shoemaker's Holiday
Sites of transgression: The suburbs and the city in Thomas Dekker’s Shoemaker’s Holiday Paul J. C. M. Franssen Utrecht University ABSTRACT The early modern binary of the virtuous City of London versus the sinful suburbs clashes with an older binary pitting the countryside against the city. At the same time, the forces of urbanization along with early capitalism were undermining both binaries. This article traces how this is reflected in Thomas Dekker’s The Shoemaker’s Holiday . The play not only represents the City of London under Simon Eyre’s rule as, potentially, possessing all the virtues of the pastoral, but also suggests that the surrounding countryside, in particular the village of Old Ford, was being corrupted by city values. Dekker’s play, therefore, deconstructs simple dichotomies between country and city, showing how the two inevitably influence each other. KEYWORDS : Thomas Dekker, The Shoemaker’s Holiday , City Comedy, Countryside. Jean Howard’s fascinating study of City Comedy, or as she prefers to call it, London Comedy, is structured around a variety of real places within London, some specific (such as the Royal Exchange and the various Counters or debtors’ prisons), others generic (such as bawdy houses and dancing academies). Howard associates these places within London with various discourses of gender, national identity, class, and the new money values. She regards these discourses as not primarily reflections of what really happened at these sites, but at least as much as constituting ways of thinking about such places, turning them into meaningful social spaces (2007:3, 32). Howard shows how the explosive growth of London into a world city undermined old certainties, often cast in the form of simple binaries, Sederi 22 (2012: 139-154) P. -
Chinese Women's Poetry Enacted
Internationale Zeitschrift für Kulturkomparatistik Band 2 (2021): Contemporary Lyric Poetry in Transitions be- tween Genres and Media Herausgegeben von Ralph Müller und Henrieke Stahl Jaguścik, Justyna: New Dynamics: Chinese Women’s Poetry Enacted. In: IZfK 2 (2021). 195-224. DOI: 10.25353/ubtr-izfk-02b7-8f50 Justyna Jaguścik (Zürich) New Dynamics: Chinese Women’s Poetry Enacted The article offers a preliminary investigation of the phenomenon of female- authored ‘poetry theater’ (shige juchang)1 in the People’s Republic of China. It discusses cross-genre explorations by a group of female poets, theater directors and artists who are all associated with the movement of ‘women’s poetry’ (nüxing shige) that emerged in the 1980s in China. The discussion focuses on two perfor- mances based on female-authored poems, “Riding a Roller Coaster Flying To- ward the Future” (2011) and “Roaming the Fuchun Mountains with Huang Gongwang” (2016), which resulted from the joint efforts of four women: the poet Zhai Yongming, the poet-scholar Zhou Zan, and the theater directors Cao Kefei and Chen Si’an. Their avant-garde experiments with poetical theater document the different ways in which poetry is being translated into images, sounds, or bodily movements on stage. The paper argues that poetic exploration of writing and reciting practices has gained new momentum from emerging intermedial, visual- verbal experiments. Furthermore, it claims that interest in ‘poetry theater’ is also driven by the search for new forms of cross-genre stage performances that could be different from the previously politicized or commercialized ones. Keywords: Chinese poetry, women’s poetry, intermediality, avant-garde theatre, performance art 1 ‘Poetry theater’ is a concept that is not precisely defined. -
Greek Theory of Tragedy: Aristotle's Poetics
Greek Theory of Tragedy: Aristotle's Poetics The classic discussion of Greek tragedy is Aristotle's Poetics. He defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." He continues, "Tragedy is a form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." The writer presents "incidents arousing pity and fear, wherewith to interpret its catharsis of such of such emotions" (by catharsis, Aristotle means a purging or sweeping away of the pity and fear aroused by the tragic action). The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the "tragic pleasure of pity and fear" the audience feel watching a tragedy. In order for the tragic hero to arouse these feelings in the audience, he cannot be either all good or all evil but must be someone the audience can identify with; however, if he is superior in some way(s), the tragic pleasure is intensified. His disastrous end results from a mistaken action, which in turn arises from a tragic flaw or from a tragic error in judgment. Often the tragic flaw is hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law. It has been suggested that because the tragic hero's suffering is greater than his offense, the audience feels pity; because the audience members perceive that they could behave similarly, they feel pity. -
Tragedy Tragedy: Drama That Shows the Downfall of a Noble Hero, A
Tragedy Tragedy: Drama that shows the downfall of a noble hero, a generally good person of high birth who makes a tragic mistake or error in judgment. It can also be a character flaw. (In Greek tragedy, it is usually hubris, or excessive pride, that causes the downfall of the character.) Prior to his death, the hero usually has some realization about human fate and destiny. A tragedy was supposed to arouse pity and fear in the audience—pity that a man of reasonably good character is suffering and fear that the same thing could happen to them. The end of tragedy was intended to produce katharsis, the purging or cleansing of the excess pity and fear aroused by the play. The goal of tragedy was to reduce negative emotions to a healthy, balanced proportion. Aristotle loved Sophocles’ play cycle of Oedipus the King and considered it the perfect tragedy. He wrote Poetics to give the “rules” of tragedy. There are six elements, with plot being the most important and spectacle being the least. 1. Plot: must have a beginning, middle and end. In Greek tragedy, there is only one plot, no subplots. Each event in the plot must play off the others. There can be no “coincidences.” A tragic plot must be serious. 2 A plot should be complex, and must show that the tragic hero recognizes the cause of his problems and is sorry for his actions before his death. According to Aristotle, there is a definite cause and effect chain throughout the play. 2. Character: character supports plot, and the motivations of the character are tied to the plot.