Glorious Theater is Christian theater art that encourages and teaches its members , youths and teenagers how to showcase and make good use of their acting skills and talents in the church and in the society. It is a Drama department of the Assemblies of God Church Obele, Bayelsa State. However, we are here to show to the world our talents of acting, win souls to God's kingdom, evangelise and seek financial support, material support, prayers, advice and also recruit new members.
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Wednesday, 16 April 2014
Tuesday, 15 April 2014
Comedy
Theatre productions that use humour as
a vehicle to tell a story qualify as comedies. This may include a modern farce such
as Boeing
Boeing or a classical play
such as As
You Like It. Theatre expressing bleak, controversial or taboo subject
matter in a deliberately humorous way is referred to as black
comedy.
Musical theatre
Music and theatre have had a
close relationship since ancient times—Athenian tragedy,
for example, was a form of dance-drama that
employed a chorus whose
parts were sung (to the accompaniment of an aulos—an
instrument comparable to the modern clarinet),
as were some of the actors' responses and their 'solo songs' (monodies). Modern musical
theatre is a form of theatre that
also combines music, spoken dialogue, and dance. It emerged from comic
opera (especially Gilbert
and Sullivan), variety, vaudeville,
and music
hall genres of the late 19th and
early 20th
century. After
the Edwardian
musical comedy that began in the
1890s, the Princess
Theatre musicals of the early
20th century, and comedies in the 1920s and 1930s (such as the works ofRodgers
and Hammerstein), with Oklahoma! (1943),
musicals moved in a more dramatic direction.Famous
musicals over the subsequent decades included My
Fair Lady (1956), West
Side Story(1957), The
Fantasticks (1960), Hair (1967), A
Chorus Line (1975), Les
Misérables (1980) and The
Phantom of the Opera (1986), as
well as more contemporary hits including Rent (1994), The
Lion King (1997) and Wicked (2003).
Musical theatre may be
produced on an intimate scale Off-Broadway,
in regional
theatres, and elsewhere, but it often includes spectacle. For instance, Broadway and West
End musicals often include lavish
costumes and sets supported by multi-million dollar budgets.
Drama theater
Drama is the specific mode of fiction represented in performance. The
term comes from a Greek word
meaning "action",
which is derived from the verb δράω, dráō,
"to do" or "to act". The enactment of drama in theatre, performed by actors on
a stage before
an audience,
presupposes collaborative modes
of production and acollective form
of reception. The structure
of dramatic texts, unlike other forms of literature,
is directly influenced by this collaborative production and collective
reception. The early
modern tragedy Hamlet (1601)
by Shakespeare and
the classical
Athenian tragedy Oedipus
the King (c. 429 BCE) by Sophocles are
among the masterpieces of the art of drama. A
modern example is Long
Day's Journey into Night by Eugene
O'Neill (1956).
Considered as a genre of poetry in
general, the dramatic mode has been contrasted with the epic and
the lyrical modes
ever since Aristotle's Poetics (c.
335 BCE)—the earliest work of dramatic
theory. The
use of "drama" in the narrow sense to designate a specific type of play dates
from the 19th
century. Drama in this sense refers to a play that is neither a
comedy nor a tragedy—for example, Zola's Thérèse
Raquin (1873)
or Chekhov's Ivanov (1887).
In Ancient Greece however, the word drama encompassed
all theatrical plays, tragic, comic, or anything in between.
Drama is often combined with music and dance:
the drama in opera is
generally sung throughout; musicals generally
include both spoken dialogue and songs;
and some forms of drama have incidental
music or musical accompaniment
underscoring the dialogue (melodrama and
Japanese Nō,
for example).In
certain periods of history (the ancient Roman and
modern Romantic)
some dramas have been written to be read rather
than performed. In improvisation,
the drama does not pre-exist the moment of performance; performers devise a
dramatic script spontaneously before an audience.
Eastern theatrical traditions
The first form of Indian
theatre was the Sanskrit
theatre. It
began after the development of Greek and Roman
theatre and before the
development of theatre in other parts of Asia. It
emerged sometime between the 2nd century BCE and the 1st century CE and
flourished between the 1st century CE and the 10th, which was a period of
relative peace in the history
of India during which hundreds of
plays were written. Japanese
forms of Kabuki, Nō,
and Kyōgen developed
in the 17th century CE. Theatre
in the medieval
Islamic world included puppet theatre
(which included hand puppets, shadow
plays and marionette productions)
and live passion plays known as ta'ziya,
where actors re-enact episodes from Muslim
history. In particular, Shia
Islamic plays revolved around the shaheed (martyrdom)
of Ali's
sons Hasan
ibn Ali and Husayn
ibn Ali. Secular plays were known as akhraja,
recorded in medieval adab literature,
though they were less common than puppetry and ta'ziya theatre.
Post-classical theatre in the West
Theatre took on many
alternate forms in the West between the 15th and 19th centuries, including commedia
dell'arte and melodrama.
The general trend was away from the poetic drama of the Greeks and the Renaissance and
toward a more naturalistic prose style of dialogue, especially following the Industrial
Revolution.
Theatre took a big pause
during 1642 and 1660 in England because of Cromwell's
Interregnum. Theatre was seen as something sinful and the Puritans tried very
hard to drive it out of their society. Because of this stagnant period, once
Charles II came back to the throne in 1660 in the Restoration,
theatre (among other arts) exploded because of a lot of influence from France,
where Charles was in exile the years previous to his reign.
One of the big changes was
the new theatre house. Instead of the types in the Elizabethan era that were
like the Globe
Theatre, round with no place for the actors to really prep for the next act
and with no "theater manners,” it transformed into a place of refinement, with a
stage in front and somewhat stadium seating in front of it. This way, seating
was more prioritized because some seats were obviously better than others
because the seating was no longer all the way around the stage. The king would
have the best seat in the house: the very middle of the theatre, which got the
widest view of the stage as well as the best way to see the point of view and
vanishing point that the stage was constructed around. Philippe
Jacques de Loutherbourg was one
of the most influential set designers of the time because of his use of floor
space and scenery.
Because of the turmoil
before this time, there was still some controversy about what should and should
not be put on the stage. Jeremy
Collier, a preacher, was one of the heads in this movement through his piece A
Short View of the Immorality and Profaneness of the English Stage. The
beliefs in this paper were mainly held by non-theatre goers and the remainder of
the Puritans and very religious of the time. The main question was if seeing
something immoral on stage effects behavior in the lives of those who watch it,
a controversy that is still playing out today.
The eighteenth century also
introduced women to the stage, which was viewed as inappropriate before. These
women were looked at as celebrities (also a newer concept, thanks to some ideas
on individualism that were beginning to be born in Renaissance
Humanism) but on the other hand, it was still very new and revolutionary
that they were on the stage and some said they were unladylike and looked down
on. Charless II did not like young men playing the parts of young women, so he
asked that women play their own parts. Because
women were allowed on the stage, playwrights had more leeway with plot twists
like dressing them up as men and narrow escapes of morally sticky situations as
forms of comedy.
Comedies were full of the
young and very much in vogue, with the storyline following their love lives:
commonly a young roguish hero professing his love to the chaste and free minded
heroine near the end of the play, much like Sheridan's The
School for Scandal. Many of the comedies were fashioned after the French
tradition, mainly Molière, again hailing back to the French influence brought
back by the King and the Royals after their exile. Molière was
one of the top comedic playwrights of the time, revolutionizing the way comedy
was written and performed by combining Commedia
dell'arte, French comedy and satire to create some of the longest lasting
and most influential satiric comedies.Tragedies
were similarly victorious in their sense of righting political power, especially
poignant because of the recent Restoration to the Crown. They
were also imitations of French tragedy, although the French had a larger
distinction between comedy and tragedy, whereas the English fudged the lines
occasionally and put some comedic parts in their tragedies. Common forms of
non-comedic plays were sentimental comedies as well as something that would
later be called tragedie bourgeoise, the tragedy of common life, were more
popular in England because they applied more to the English sensibilities.
Through the 19th
century, the popular theatrical forms of Romanticism, melodrama, Victorian
burlesque and the well-made
plays of Scribe and Sardou gave
way to the problem
plays of Naturalism and Realism;
the farces of Feydeau; Wagner's operatic Gesamtkunstwerk; musical
theatre (including Gilbert
and Sullivan's operas); F.
C. Burnand's, W.
S. Gilbert's and Wilde's drawing-room
comedies;Symbolism;
proto-Expressionism in
the late works of August
Strindberg and Henrik
Ibsen;[30] and Edwardian
musical comedy.
These trends continued
through the 20th
century in the realism of Stanislavski and Lee
Strasberg, the political theatre of Erwin
Piscator and Bertolt
Brecht, the so-called Theatre
of the Absurd ofSamuel
Beckett and Eugène
Ionesco, American and British musicals, the collective creations of
companies of actors and directors such as Joan
Littlewood's Theatre
Workshop, experimental and postmodern
theatre of Robert
Wilson and Robert
Lepage, the postcolonial theatre
of August
Wilson or Tomson
Highway, and Augusto
Boal's Theatre
of the Oppressed.
Roman theatre
Western theatre developed
and expanded considerably under the Romans.
The Roman historian Livy wrote
that the Romans first experienced theatre in the 4th century BCE, with a
performance by Etruscan actors.Beacham
argues that they had been familiar with "pre-theatrical practices" for some time
before that recorded contact. The theatre
of ancient Rome was a thriving
and diverse art form, ranging from festival performances
of street
theatre, nude dancing, and acrobatics,
to the staging of Plautus's
broadly appealing situation comedies,
to the high-style,
verbally elaborate tragedies of Seneca.
Although Rome had a native tradition of performance, the Hellenization of Roman
culture in the 3rd century BCE
had a profound and energizing effect on Roman theatre and encouraged the
development of Latin
literature of the highest quality
for the stage. The only surviving Roman tragedies, indeed the only plays of any
kind from the Roman Empire, are ten dramas- nine of them pallilara- attributed
to Lucuis Annaeus Seneca (4 b.c.-65 a.d.), the Corduba-born Stoic philosopher
and tutor of Nero.
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