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*A groundbreaking approach to drama criticism*
Since the inception of the noh drama six centuries ago, actors have resisted the notion that noh rests on natural talent alone. Correct performance, they claim, demands adherence to traditions. Yet what constitutes noh's traditions and who can claim authority over them have been in dispute throughout its history. This book traces how definitions of noh, both as an art and as a profession, have changed over time. The author seeks to show that the definition of noh as an art is inseparable from its definition as a profession. The aim of this book is to describe how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the fourteenth century through the late twentieth century. It focuses on the development of the key traditions that constitute the "ethos of noh," the ideology that empowered certain groups of actors at the expense of others, and how this ethos fostered noh's professionalization--its growth from a loose occupation into a closed, regulated vocation. The author argues that the traditions that form the ethos of noh, such as those surrounding masks and manuscripts, are the key traits that define it as an art.
Sophocles is often considered the least philosophical of the three great Greek tragedians. However, Ruby Blondell offers a vital examination of the ethical content of the plays by focusing on the pervasive Greek popular moral code of 'helping friends and harming enemies'. Five of the extant plays are discussed in detail from both a dramatic and an ethical standpoint, and the author concludes that ethical themes are not only integral to each drama, but are subjected to an implicit critique through the tragic consequences to which they give rise. Greek scholars and students of Greek drama and Greek thought will welcome this book, which is presented in such a way as to be accessible to specialists and non-specialists alike. No knowledge of Greek is required. This revised edition includes a contextualising new Foreword which engages with critical and scholarly developments in Greek drama since the original publication.
From Aristotle's Poetics to Vaclav Havel, the debate about the nature and function of theatre has been marked by controversy. Daniel Gerould's landmark work, Theatre/Theory/Theatre, collects history's most influential Eastern and Western dramatic theorists – poets, playwrights, directors and philosophers – whose ideas about theatre continue to shape its future. In complete texts and choice excerpts spanning centuries, we see an ongoing dialogue and exchange of ideas between actors and directors like Craig and Meyerhold, and writers such as Nietzsche and Yeats. Each of Gerould's introductory essays shows fascinating insight into both the life and the theory of the author. From Horace to Soyinka, Corneille to Brecht, this is an indispensable compendium of the greatest dramatic theory ever written.
Twenty-first-century media and political discourse sometimes makes "strangers" - refugees, immigrants, minorities - the scapegoats for social and economic disorder. In this heated climate, theatre has the potential to promote greater compassion and empathy for outsiders. A study of cultural difference in contemporary Canadian theatre, Staging Strangers considers how theatre facilitates an understanding of distant places and issues. Theatre in Canada, and especially in Toronto, has long been a place for communities to celebrate their traditions, but it is now emerging as a forum for staging stories that stretch beyond the local and the national. Combining archival research and performance analysis, Barry Freeman analyzes the possibilities and hazards of representing strangers, and the many ways the stranger on stage may be fetishized or domesticated, marked for assimilation, or turned into an object of fear. A fresh look at ways to cultivate ethical responsibility for global issues, Staging Strangers imagines a role for theatre in creating a more tolerant, caring, and cooperative world.
'What is poetry, how many kinds of it are there, and what are their specific effects?' Aristotle's Poetics is the most influential book on poetry ever written. A founding text of European aesthetics and literary criticism, from it stems much of our modern understanding of the creation and impact of imaginative writing, including poetry, drama, and fiction. For Aristotle, the art of representation conveys universal truths which we can appreciate more easily than the lessons of history or philosophy. In his short treatise Aristotle discusses the origins of poetry and its early development, the nature of tragedy and plot, and offers practical advice to playwrights. This new translation by Anthony Kenny is accompanied by associated material from Plato and a range of responses from more modern literary practitioners: Sir Philip Sidney, P. B. Shelley, and Dorothy L. Sayers. The book includes a wide-ranging introduction and notes, making this the most accessible and attractive modern edition. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
This collection of essays locates Aristotle's analysis of tragedy in its larger philosophical context. Philosophers, classicists, and literary critics connect the Poetics to Taristoltle's psychology and history, ethics an politics. There are discussions of plot and the unity of action, character and fictional necessity, catharsis, pity and fear, and aesthetic pleasure.
Discusses the literary concepts and terms used in poetry and dramatic literature, including the different styles of poetry and drama, and each style's origins.
This influential book was the first comprehensive study of Nietzsche's earliest work, The Birth of Tragedy (1872).