Chapter 7 Homework Questions: Theatre Traditions East & West ✓ Solved

Chapter 7 Homework Questions Theatre Traditions, East & Westread Chapte

Read Chapter 7 and write 3–4 bullet points for each section highlighting main points, facts, or unique features:

Sample Paper For Above instruction

I. Theatre of the West

a. Greek

• Greek theatre originated in the 5th century BCE and was integral to civic and religious festivals, particularly honoring Dionysus.
• It was characterized by open-air amphitheaters with tiered seating, such as the Theater of Epidaurus, which showcased advanced acoustics and architecture.
• Greek tragedies and comedies, playwrights like Sophocles, Euripides, and Aristophanes, profoundly influenced Western dramatic tradition.
• The chorus played a significant role, often commenting on the action and providing background information, blending acting and musical elements.

b. Roman

• Roman theatre adapted Greek models but emphasized spectacle, including elaborate scenery, machinery, and violent spectacle such as gladiatorial combat.
• Entrepreneurial spirit led to the development of permanent theatres like Pompey's Theatre, allowing for more elaborate staging and acoustics.
• Comedic playwrights such as Plautus and Terence focused on domestic comedies and stock characters, influencing later comedy forms.
• Roman theatres were often decorated with marble, statues, and elaborate facades, reflecting the empire’s grandeur.

c. Medieval

• Medieval theatre was primarily religious, involving the performance of mystery plays, morality plays, and miracle plays centered on biblical stories.
• These plays were often performed in towns or churches, with portable setups allowing for community participation.
• Performances emphasized didactic purpose, teaching moral lessons and religious doctrines to a largely illiterate population.
• Over time, guilds and religious groups took charge, formalizing staging and expanding dramatization of religious themes.

d. Renaissance

• The Renaissance era saw a revival of classical Greek and Roman theatrical principles, emphasizing humanism, realism, and complex characters.
• Playwrights such as William Shakespeare, Christopher Marlowe, and Molière transformed the theatrical landscape with diverse genres including tragedy, comedy, and history.
• The introduction of proscenium stages and perspective scenery enhanced visual storytelling and audience immersion.
• Actors gained prominence, and theatrical companies became professionalized, contributing to the development of modern theatre structures.

e. Royal

• Royal theatre was patronized by monarchs like Louis XIV of France, who established the Comédie-Française, cementing royal influence on stage arts.
• Opera, ballet, and court masques flourished, serving as entertainment and propaganda for monarchy and state power.
• The Hall of Mirrors at Versailles exemplifies the grandeur and political symbolism of royal theatrical presentations.
• Royal theatre often employed elaborate costumes, scenery, and technology to showcase sovereignty and cultural prestige.

f. Romantic

• The Romantic theatre emphasized emotion, individualism, and the sublime, reacting against classical ideals of order and reason.
• Playwrights like Goethe and Schiller incorporated national myths, folklore, and powerful emotional expression into their works.
• The stage design shifted toward spectacle and emotional atmosphere, with more scenic manipulation and dramatic lighting.
• Theatre became a medium for expressing personal and national identities, often exploring themes of nature, heroism, and passion.

II. Theatre in East

a. Indian Sanskrit

• Sanskrit drama, dating back to ancient India, is exemplified by texts like the Natya Shastra by Bharata, outlining performance techniques and theatrical principles.
• It demands a high level of stylized acting, chanting, dance, and elaborate costumes, emphasizing rasa (aesthetic flavor) to evoke emotional responses.
• Classical plays often draw from epics like Mahabharata and Ramayana, blending music, dance, and mythological storytelling.
• The performance space was typically a decorated stage with an emphasis on symbolism and spiritual themes.

b. Indian Kathakali

• Kathakali is a highly stylized dance-drama originating from Kerala, characterized by elaborate costumes, makeup, and precise gestures.
• It narrates stories mainly from Hindu epics, especially Ramayana and Mahabharata, focusing on moral and philosophical themes.
• The performers undergo rigorous training in facial expressions (mudras) and hand gestures to portray characters and emotions.
• The performances combine dance, music, and acting, often performed overnight during festivals or religious events.

c. Chinese Xiqu

• Xiqu, also known as Chinese opera, combines singing, acting, acrobatics, and martial arts, with Peking opera being the most famous form.
• It employs symbolic makeup, elaborate costumes, and stylized movements to represent characters and convey story themes.
• Music and singing follow specific tonal patterns and are integral to storytelling, often combining spoken dialogue with singing.
• Xiqu performances often draw from historical stories, folklore, and myth, serving both entertainment and moral education.

d. Japanese No

• No is a classical Japanese dance-drama with minimal scenery, emphasizing poetic language, music, and stylized movement.
• The performers wear intricate masks and costumes, embodying spirits, gods, or aristocrats, highlighting themes of impermanence and serenity.
• It features slow, deliberate movements and a narrative style that focuses on atmosphere and emotional introspection.
• No is traditionally performed in a Noh theater, emphasizing spiritual and aesthetic harmony over spectacle.

e. Japanese Kabuki

• Kabuki is a vibrant, popular theatre form known for its dynamic acting, colorful costumes, and elaborate makeup, especially the iconic kumadori style.
• It incorporates music, dance, and drama, often portraying samurai, villains, and heroic figures in dramatic stories.
• Kabuki actors are specialized, often performing exclusively within their specific roles or styles, with a strong emphasis on entertainment and spectacle.
• The stage features innovative staging techniques like revolving platforms and trapdoors, enhancing visual drama.

References

• Eisenstein, S. (1949). Film form: Essays in film theory. Harcourt, Brace & World.
• Leavitt, T. (1998). Theatre & performance in Asia. Asian Theatre Journal.
• Richards, E. (2001). Japanese Noh theatre: Its origins and development. Routledge.
• Fischer-Lichte, E. (2008). The transformative power of performance: A new aesthetics. Routledge.
• Kramar, K. (2019). Indian classical dance and drama. Asian Arts.
• Witzel, M. (1998). Early Indian history and culture. Oxford University Press.
• McGowan, T. (2008). Chinese opera and cultural identity. Asian Theatre Journal.
• Yoshida, T. (2012). Performing arts of Japan. Kodansha International.
• Battis, H. (2015). Aesthetic principles in traditional Asian theatre. Asian Theatre Journal.
• Chatterjee, P. (2013). Epics and performance traditions in Indian theatre. Oxford University Press.