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Full-Text Articles in Dramatic Literature, Criticism and Theory
The Technique Of Shakespeare's Early Comedies, Mary Alice Procissi
The Technique Of Shakespeare's Early Comedies, Mary Alice Procissi
Bachelors’ Theses
In this thesis I have attempted to trace the dramatic technique of the early comedies of Wiilliam Shakespeare. As a setting for the development of my thesis, "The Technique of Shakespeare's Early Comedies" I have given a brief history of the rise of the Shakespearean drama, showing the relation of the early dramatists to Shakespeare as a writer of comedy, including also a sketch of the Elizabethan theatre. Under the definition of the term technique, I include chiefly a division of his plays into acts and scenes, character drawing, source of plot and treatment of plot.
Jeanne D'Arc In Modern Drama, Mary Cordea Woelfel
Jeanne D'Arc In Modern Drama, Mary Cordea Woelfel
Bachelors’ Theses
The Jeanne d'Arc literature provides a delightful as well as scholarly excursion that may keep the mind entranced for days, months, nay even for years. But we shall confine ourselves to a short and pointed description. We shall follow Jeanne of Domremy through five centuries of stormy upheavals, religious as well as political. We shall meet her entrancing figure, exalted and deified, maligned and reviled, in history and otherwise, in medieval and modern versions of drama and poetry. But everywhere we shall greet her as a perennial yet youthful charming figure, in American, German, and English literature, and naturally in …
The Function Of The Comedians In Shakespeare's Plays, Louise Elizabeth Tennessen
The Function Of The Comedians In Shakespeare's Plays, Louise Elizabeth Tennessen
Bachelors’ Theses
There is an old adage, "It takes a wise man to make a fool", which is familiar to most of us, but the full significance of the proverb will be comprehended only after reviewing several plays in which the fools carry prominent parts. Tracing the history of the court fool back to the early and middle ages, it has been found that it was customary tor a monarch, prince or a powerful noble to have in his retinue a fool or jester, whose office it was to entertain his master and courtiers. He enjoyed privileges and liberties denied the higher …
The Symbolism And The Morality Of The Modern Drama, Florence Marie Schopps
The Symbolism And The Morality Of The Modern Drama, Florence Marie Schopps
Bachelors’ Theses
The drama has always been the mirror of the age. It is in contemporary drama more than in any other form of art that one finds the mouthpiece and the embodiments of the tur spirit of modernism. The drama of today is the drama of revolt. It opposes the tradition of the past. It is an open attack against the subject-matter, technique, and stagecraft of the drama of past centuries. It proposes changing standards of morality and uses symbolism as one of its chief modes of expression.
The Development Of The Drama From The Church, Karl V. Schoenecker
The Development Of The Drama From The Church, Karl V. Schoenecker
Bachelors’ Theses
In the study of the drama and especially the stage, we find that it had its death and inception in the Church. In the early stages of Christianity we find the Church condemning with great vigor all forms of stage presentations not for any destruction of art but because the stage was the visible representative of the old pagan life. Pagan ideas and culture were fostered and in the plays themselves lurked the thoughts of the old mythology.
The Development Of The Roman Theatre And Drama, And Its Relation To The Greek Drama And Culture, John F. Gminski
The Development Of The Roman Theatre And Drama, And Its Relation To The Greek Drama And Culture, John F. Gminski
Bachelors’ Theses
Entering upon this treatise on the ancient theatre and drama, I will say that I had first intended to treat only of the Roman drama, and so had planned to make a critical survey of its production and development. But this I soon found to be quite ineffective as to the result for a study of ancient dramaturgy with an object of absorbing its soul. For there we first find, the theatre, the stage, which is as the art gallery of drama, to be intimately related to the drama; for drama and the theatre throughout their existence and period of …
Conflict The Universal Law Of The Drama- Its Variations Circumstantial, Leona Peters Furrer
Conflict The Universal Law Of The Drama- Its Variations Circumstantial, Leona Peters Furrer
Bachelors’ Theses
"Nothing substantial can be made out of hand and. nothing survives which is not a development of institutions already existing." Thus the drama in its complete ex¬ pression to-day survives and is a development thru many cycles of that which was instinctive in the most primitive races. Thru all the ages man has desired to portray his experiences. Before the written word this desire was expressed thru pantomime aided by song and dance. Later two singers related their adventures conveying their ideas by gestures. This is typically true of the Eskimo. The Aleutian Islanders progressed by employing many personages to …
The Motive Principle Of The Drama, Augustus James Slater
The Motive Principle Of The Drama, Augustus James Slater
Bachelors’ Theses
This brief paragraph, found in George Pierce Baker's recent Dramatic Technique, re-opens a controversy that has commanded the attention of the great minds in the field of dramatic criticism from the very beginning, for though all recognize some distinction between drama and the epic, or its modern equivalent, the novel, and indeed this recognition is inevitable, still there are those who deny this difference to be an essential one.
The Beginnings Of English Dramatic Literature, Clarence Francis Dickopf
The Beginnings Of English Dramatic Literature, Clarence Francis Dickopf
Bachelors’ Theses
No art has been practiced by human beings from the beginning. We only find a gradual development. We have men, however, who were born with a gift of genius, who were unconscious of the laws and rules governing their respective spheres. We read of a Mozart, a Michaelangelo and a host of other gifted men whose art came to them intuitively. These are exceptions. Art has laboriously grown, and so it is with our own dramatic art, we see its gradual development. In order to study English drama intelligently we must know its origins or beginnings, how it arose from …