DRAM 2120 DRAM 2120
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This 1 page Class Notes was uploaded by Keyanna Alexander on Friday January 29, 2016. The Class Notes belongs to DRAM 2120 at North Carolina Central University taught by Dr. J.B. Alston in Spring 2016. Since its upload, it has received 38 views. For similar materials see Theatre History II in Theatre at North Carolina Central University.
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Date Created: 01/29/16
DRAM 2120 – Week One Neo-Classicalism Follows Aristotle “The Poetics” and Horace “The Art of Poetry” The Renaissance’s adaptation of the Greek theatrical techniques Strict to practicing the rules described in the Greek works o Morality – good will always win against evil o Generality – general truth, universal message o Reality - Verisimilitude: appearance of truth o Unities of Time (24 hours), Place (1 location) and Action (1 plot line) o Must have 5 acts Romanticism Reaction to Neo-classicalisms (Rebellion against popular practices) Plays composed without the limitations derived from the Greeks French Renaissance Some of the most creative Neo-classical works Pierre Corneille “Le Cid” Jean Racine “Phedra” (based upon Hippolyte) Moliere – Most famous French playwright, Commedia del arte, “Bourgeois Gentlemen” Instead of play houses, tennis courts were used because of their abundance Comedia Frances – government sponsored theatre, first national theatre ever Spanish Renaissance Noting cutting-edge, subtle writing Queen Isabella – kept theatre limited in her pressing of religion on the people Lupe de Rueda - known for the large volume of plays he wrote, “The Olives” (about everyday life) Lupe de Vega – most famous playwright, not usually controversial such as “Dog in a Manger,” “Flowers of Don Juan” would be controversial, expect for the amount of decorum written into it Pedro Calderon “Life is a Dream” doesn’t have verisimilitude Maria de Zayas – female playwright, only information on females is their plays Playhouses is called Corrales, similar to English architecture but with more elaborate audience
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