History of theater stages essay

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History of theater stages essay

Kabuki Traditional Japanese theater style. Kabuki is the most well-known of Japan's many theatrical styles. Known for the colorful makeup, costumes, and stage decor; the melodrama; the rhythmic grace of the actors' motions; and the complex use of music and sound effects, Kabuki has become popular with audiences worldwide.

Kabuki theater continues to enjoy enormous popularity in Japan today, and is regarded as an important means of preserving seventeenth- and eighteenth-century Japanese cultural values in an historical context.

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Kabuki has its origins in the late sixteenth century or early seventeenth century in the Kabuki dance Kabuki odori performed on the Kamo riverbed by Okuni also O-Kunia shrine maiden at the Grand Shrine of Izumo in Kyoto.

Okuni's dance-dramas were a popular success, and soon their scale increased and a number of rival companies arose. The early performers of Kabuki were mostly female—many of whom also worked as prostitutes—but in the government banned women from the stage in an effort to protect public morality.

During this period, the specialist performance by men of women's roles was established as a separate category of acting, and theaters were built in the cultural centers of Kyoto, Osaka, and Edo present-day Tokyo. During the Genroku period tothe Japanese townspeople experienced a cultural renaissance.

As the main form of theatrical entertainment for commoners, Kabuki enjoyed immense popularity and blossomed as an art form. Stylizations that would form the basis for later Kabuki—including play structure, character types, and the art of the onnagata—took form.

Another important development during the Genroku period was the emergence of the first professional dramatists—rather than actors, often working in collaboration—writing for the Kabuki theater. Most Kabuki plays until Chikamatsu's time had been based on disputes within high-ranking families, but he introduced the sewamono genre—plays concerning commoners in Japanese society—and brought literary and philosophical aspects to the form.

Especially popular were Chikamatsu's love suicide plays, in which young couples decide to take their own lives when social pressures keep them from being together. Kabuki's popularity declined during the early part of the eighteenth century, in part because of government censorship; Kabuki had long relied on its sensationalism and scandalous content to attract audiences.

Because of these improvements, Kabuki enjoyed a revitalization and soon overshadowed its rivals in the puppet theater. The period of Kabuki known as Edo Kabuki toin which the development of Kabuki took place in Edo rather than in Kyoto or Osaka, saw significant developments in music.

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Music in Edo was encouraged by a group of eighteen cultured men, and their patronage was responsible for what was to become the golden age of the Kabuki as music-drama.

Although Kabuki continued to develop afterthe Kabuki that is performed today is in many ways the same form as was seen on the stage during the end of the eighteenth century. In the early nineteenth century there was a trend toward portraying all types of evil—such as torture, incest, and sadism—on stage, and after the Meiji Restoration of a movement was started to adapt Kabuki to the spirit of the modern world.

However, even as Kabuki has developed in style and content, it retains many of the elements it acquired during the s, from the physical virtuosity of its actors to the use of colorful costumes and depiction of outlandish events.

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Because of the emphasis in Kabuki on performance, there is little interest among scholars in offering critical analyses of its most important plays; many feel, in fact, that to read a Kabuki play in print gives the reader no indication of its artistic power.

Critics writing in English about seventeenth- and eighteenth-century Kabuki have thus tended to concentrate on the social and historical context surrounding the development of the form or on artistic elements such as acting, stage techniques, and music.

This play, about retainers' loyalty to a feudal lord even beyond his death, contains all the elements that make for great, melodramatic Kabuki theater, with a plot revolving around a high-ranking family as well as characters in brothels, scenes taking place in various backgrounds, and sharply defined characters who represent good and evil.Uses and Abuses of Gresham's Law in the History of Money.

Robert Mundell. Columbia university. August Introduction. 1.

History of theater stages essay

Early Expressions. 2. Faulty Renderings. The history of antisemitism, defined as hostile actions or discrimination against Jews as a religious or ethnic group, goes back many centuries, with antisemitism being called "the longest hatred".

Jerome Chanes identifies six stages in the historical development of antisemitism. Pre-Christian anti-Judaism in ancient Greece and Rome which was . The Theater Loop with Chris Jones, The Chicago Tribune's home for Chicago theater news, reviews, comedy, dance, Broadway and beyond.

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Noh (能, Nō), derived from the Sino-Japanese word for "skill" or "talent", is a major form of classical Japanese musical drama that has been performed since the 14th century.

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Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Traditionally, a Noh program includes five Noh plays with .

In an Elizabethan Theater: The audience surrounded the actors horizontally and vertically. The stage was a platform in a round building. On three sides of the platform, the audience stood with heads just above the platform.

As the player looked out on a horizontal plane, the audience encircled him degrees.

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