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Reprint of the original, first published in 1874.
Using both textual and iconographic sources, this richly illustrated book examines the representations of the body in Greek Old and Middle Comedy, how it was staged, perceived, and imagined, particularly in Athens, Magna Graecia, and Sicily. The study also aims to refine knowledge of the various connections between Attic comedy and comic vases from South Italy and Sicily (the so-called 'phlyax vases').0After introducing comic texts and comedy-related vase-paintings in the regional contexts, The Comic Body in Ancient Greek Theatre and Art, 440-320 BCE considers the generic features of the comic body, characterized as it is by a specific ugliness and a constant motion. It also explores how costumes -masks, padding, phallus, clothing, accessories- and gestures contribute to the characters' visual identity in relation with speech : it analyzes the cultural, social, aesthetic, and theatrical conventions by which spectators decipher the body. This study thus leads to a re-examination of the modalities of comic mimesis, in particular when addressing sexual codes in cross-dressing scenes which reveal the artifice of the fictional body. It also sheds light on how comic poets make use of the scenic or imaginary representations of the bodies of those who are targets of political, social, or intellectual satire. There is a particular emphasis on body movements, where the book not only deals with body language and the dramatic function of comic gesture, but also with how words confer a kind of poetic and unreal motion to the body.
The book examines how gentility was portrayed at London's theatres during the early modern era.
THE STORY: Virginia Carpolotti is a devoted widow with loving memories of her recently-deceased husband. Though her love endures, her confidence in him flounders as one shady character after another comes calling for the debt that Ed put in her name, and things really heat up when a mysterious blackmail letter appears.
Age-old scholarly dogma holds that the death of serious theatre went hand-in-hand with the 'death' of the city-state and that the fourth century BC ushered in an era of theatrical mediocrity offering shallow entertainment to a depoliticised citizenry. The traditional view of fourth-century culture is encouraged and sustained by the absence of dramatic texts in anything more than fragments. Until recently, little attention was paid to an enormous array of non-literary evidence attesting, not only the sustained vibrancy of theatrical culture, but a huge expansion of theatre throughout (and even beyond) the Greek world. Epigraphic, historiographic, iconographic and archaeological evidence indicates that the fourth century BC was an age of exponential growth in theatre. It saw: the construction of permanent stone theatres across and beyond the Mediterranean world; the addition of theatrical events to existing festivals; the creation of entirely new contexts for drama; and vast investment, both public and private, in all areas of what was rapidly becoming a major 'industry'. This is the first book to explore all the evidence for fourth century ancient theatre: its architecture, drama, dissemination, staging, reception, politics, social impact, finance and memorialisation.
Public speaking can be terrifying. For David Nihill, the idea of standing in front of an audience was scarier than cliff jumping into a thorny pit of spiders and mothers-in-law. Without a parachute or advanced weaponry. Something had to change. In what doesn't sound like the best plan ever, David decided to overcome his fears by pretending to be an accomplished comedian called "Irish Dave" for one full year, crashing as many comedy clubs, festivals, and shows as possible. One part of the plan was at least logical: he was already Irish and already called Dave. In one year, David went from being deathly afraid of public speaking to hosting a business conference, regularly performing stand-up comedy and winning storytelling competitions in front of packed houses. And he did it by learning from some of the best public speakers in the world: stand-up comedians. Do You Talk Funny?: 7 Comedy Habits to Become a Better (and Funnier) Public Speaker shows how the key principles of stand-up comedy can be applied to your speaking engagements and presentations to make you funnier, more interesting, and better looking. (Or at least two of the three.) Whether you are preparing for a business presentation, giving a wedding toast, defending your thesis, raising money from investors, or simply want to take on something you're afraid of, this book will take you from sweaty to stage-ready. You'll learn how to: - Craft a story and content that your audience will want to listen to - Find the funniest parts of your material and how to get to them faster - Deal with stage fright - Master the two most important parts of your performance: timing and delivery Ten percent of the author's proceeds from this book will go to Arash Bayatmakou via Help Hope Live until he is fully back on his feet and thereafter to one of the many facing the same challenges after suffering a severe spinal cord injury.