Evolution Of Theatres During The Renaissance - Free Essay Example

Sample details Pages: 6 Words: 1815 Downloads: 6 Date added: 2019/05/28 Category Art Essay Level High school Tags: Renaissance Essay Did you like this example? Theater has evolved marvelously throughout the ages. Although every era has contributed massively to how theatre evolved, the Renaissance era, which is known as the period of European cultural, artistic, political and scientific ?rebirth after the Middle Ages, contributed considerably more than any other era. During the Renaissance various changes were made to how plays were presented to the people. Just before the 14th century, actors in Italy were performing in stages without decoration except for a row of curtained booths. Nearly 100 years later complex painted scenery was being used in play productions. (Barker, George 2018) The Renaissance brought changes as to where the stage could be located as well as new innovations involving perspective, which allowed for a more creative and enjoyable show through the use of scenery. Don’t waste time! Our writers will create an original "Evolution Of Theatres During The Renaissance" essay for you Create order The theatrical innovations that were created during the Renaissance era was due to the high success of theatre. Scenery and theatrical effect saw the largest amount of change from new technology and schools of thought. Through the use of depth, even if it was just an illusion, and perspective scenery was revolutionized. One of the influential figures of this era was Sebastiano Serlio, an Italian architect who built part of the Palace of Fontainebleau, wrote a series of books, Architettura, one of which included a section dedicated to the architecture of theatres that included his theories on perspective drawing and painting and the art of recreating three-dimensional objects on a flat surface. (www.preceden.com/timelines/168318-theatre-historyitalian-renaissance) For his theories Serlio used Vitruvius ideas regarding the vanishing point. Through the use of the inclined rake of the stage floor he created the effect which made everything that was upstage look as if it were farther than it really was. Although his designs became very popular, he did not limit himself to the use of scenery, perspective, and painted backdrops. Serlio became involved in the construction of theaters as well. He drew from neoclassical ideas of Greek and Roman theater designs. (Italian-renaissance-theatre.weebly.com/Italian-renaissance-scenic-design.html.) As an example of what theatres looked like at the beginning of the Renaissance era we have to go back to the late Middle Ages, when the charitable institution of the Confrerie de la Passion converted a hall in the Hopital de la Trinite into a theatre. Nowadays, it is unclear whether the theatre has an end stage arrangement, where the audience was seated around the three sides of the hall with a large standing audience in front of the stage, or whether it had an arena arrangement, where the actors used the central floor area as a stage with the audience seated around them. This type of theatre known as a theatre hall became dominant during the Renaissance era even after several innovations were introduced Members of the nobility, who were competing against one another as to who could put on the most lavish spectacles, undertook formal experimentation, as well as entrepreneurs and charities who wanted to make extra money by providing theatrical performances for the public. (Hildy, 2018 ) After Julius Pomponius Laetus, the founder of the Roman Academy, received one of the first printed copies of Vitruvius De Architecture in 1481 he set out to discover the nature of the original staging of Roman plays, which started the experimentation of the different forms of academic theatres. Laetus focus on design and the usage of scaenae fons led to the popularization of a modified form of medieval simultaneous staging. This new form had a wide but shallow raised stage that covered either four or five openings. It was angled forwards so that the central one or two openings were closer to the audience and the rest of the openings were angled towards them. Since the curtains were hard to differentiate signs were placed above them, which indicated the homes of a central character. This then became the standard pattern for curtained openings in academic theaters all throughout Europe. 1508 was the year where the first known use of perspective scenery was used on a large painted backdrop. In the course of the 1540rs, square panels that had been connected to make the shape of an L had been organized at uniform intervals alongside every side of the stage. Three dimensional architectural details, which supplied a continuous perspective that gave the general image greater depth, had been put on the angled wings; furthermore, the floor of the stage was angled upward toward the vanishing point of the backdrop, which created the present-day designations of what we now understand as upstage and downstage. For the first time in the history of theater, perspective now dictated that stages should be deeper than they were wide. However, even though a lot of innovative things were discovered, actors still restricted themselves to acting on the side of the part of the stage that was nearest to the audience. Perspective became such a fascinating subject that not even academic the atre could resist it. For an example, we can look at the famous Teatro Olimpico in Vicenza, Italy. The Teatro Olimpico is the oldest existing theatre in Europe. (Hildy, 2018) It was designed by the Italian Architect Andrea Palladio to fit into a pre-existing hall, which opened 5 years after his death in the year 1585. (www.preceden.com/timelines/168318-theatre-historyitalian-renaissance) The most elaborate reconstruction of a Roman scaenae frons can be seen in the Teatro Olimpico which had 5 doors. Behind 4 of the doors there is a forced perspective vista of a city street, while behind the largest door one can see 3 of the same vistas. Unfortunately, such a theatre was too expensive to copy by any average institution and since it didnt allow for the changing of the perspective that was widely used during court it was not widely imitated. (Hildy, 2018) Very little is known about the permanent theatres that were built at Ferrara in 1531 and Rome in 1545, except that they were most likely court theatres that were built as a theatre-in-the-hall type. One of the most dominant theatre types was the theatre in the hall style that even when the Confrerie de la Passion opened the first public purpose-built theatre in Europe since the Roman era, known as the Theatre de lHotel de Bourgogne, in 1548 it followed the theatre-in-the-hall model. The most significant innovation seem in the theatre was the second-level stage that was located at the back of the main stage. Eventually, the Bourgogne was followed by purpose-built theatres across Europe. (Hildy, 2018) The evolution of theatres across Europe was diverse. In 1565, the first public theatre was built in Venice, Italy, but it is unknown whether it was a freestanding theatre or one in an existing hall. In 1567, the Red Lion was built in London in a garden with seating risers and a large stage backed by a tower. In 1575 and 1576 the playhouses of St. Paul and Blackfriars respectively, were adaptations of existing halls. Meanwhile, a charitable society in Spain opened a public theatre in a courtyard in Calle Sol in 1568 and in 1574 the first purpose-built public theatre in Spain was built in Sevilla as a courtyard theatre. (Hildy, 2018) The Theatre in London was the first truly innovative design to be found on a playhouse. The Theatre was built with its central area in an open-air style. What was amazing about it and truly innovative is that it was built in the shape of a polygonal, while most theatres were built in the shape of a rectangle. Its innovative shaped has about 20 sides that were around 12 feet deep and contained 3 levels of seating covered by a roof. The audience stood around a large stage that was 5 feet high and integrated into several bays at one end of the theatre. Behind the stage was the backstage area, called a tiring-house. This basic design became the standard for all open-air theatres in London and helped it became one of the most successful examples of theatre design of the time. Unfortunately, The Theatre only had its doors open for 20 years, and in 1598 it was taken down. However, its timbers were used to build what we know now as the Globe Theatre, which became popular due to William Shake speare most of his plays were performed on its stage. (Hildy, 2018) During the renaissance we also saw a lot of improvement to the capacity of people that a theatre could hold. By the 17th century The Globe could hold an audience capacity of 1,500 but since audiences tended to crowd outside the theatre the number was expanded to 3,000 people. (m.bardstage.org/globe-theatre-audience.htm) This was the average size of Elizabethan theatres which were designed in a style similar to the Coliseum, but a smaller version of it. Their dimensions were different, ranging from 20 feet wide 15 feet deep to 45 feet wide to 30 feet deep, and since they all were in an open arena style people often got wet when it rained. The Teatro Olimpico was built to have a capacity of 1000 people, although it only has 400 seats available as of today. Plays during the Medieval period were performed outside so it is unclear as to how many people were able to see or hear the play at a single time, but it is most likely that at most 100 people at a time saw the same play. In other words, during the Renaissance we saw the stage for plays get a more formal space. The Renaissance was an era of rebirth where people were interested in discovering and innovating themselves and the things around them. Furthermore, since the nobility were competing on who could put on the most lavish and spectacular show, architecture was of most importance. Some theatres had designs on its walls and on its archways. Some like the Teatro Olimpico have statues on it walls, which made it look more beautiful and rather classy. Balconies and galleries were also focused on since it was used by the nobility. There were galleries known as the Lords rooms, which were considered the best seats in the house, even though it had such a poor view of the stage. (m.elizabethean-era.org.uk/architecture-of-Elizabethan-theatres.htm.) In conclusion, we saw a lot of changes being made during the Renaissance. Artists as well as architects became more inspired and created a lot of innovative things in theatre. Before the Renaissance era artists looked only for a stage, but as people became more interested in the arts experimentation led to creating beautiful scenes that revolutionized theatre. Nowadays, how you present a stage is part of a play. Props, background, even music help the audience experience a play more in depth. Not only does it help the audience, but they also help the creator of the play enhance the vison of their work. We also saw modifications being made to theaters so that now actors can work in theatres that can house more than a thousand people, while back a couple hundred people at a time would have been able to see a play.

To Kill a Mockingbird Character Analysis Essay - 763 Words

Essay Prompt: In a 1-2 page character analysis, explain what makes Atticus such a good parent, using quotes and evidence from the text to back up your claims. The Most Memorial Parent In 2003, the American Film Institute chose Atticus Finch, a respectful, dignity attorney from To Kill a Mockingbird, as the greatest hero in 100 years of film history. Harper Lee published To Kill a Mockingbird in the 1960s and it immediately received huge acclaims from readers throughout the world. In the novel, Lee created Atticus Finch, the ideal parent of Jem and Scout, who gains much respect from his children and Maycomb inhabitants through series of events the family encounters in the novel. Throughout To Kill a Mockingbird, Atticus exemplifies the†¦show more content†¦Later in the novel, Jem and Scout themselves perceive courage in Atticus when he is trying to acquit Tom Robinson. He takes the case whatsoever; albeit the minimal to zero chance he will win. By being a great epitome of a courageous man for his children, Atticus further proves his value of good parent. In a nutshell, parent plays a significant part in forming his children. Children might be influenced fr om outer world, but parent is ultimately responsible for explaining and leading them to his beliefs. A good parent not only needs to love the children dearly, but also has to create a disciplined environment for the children, for it is freedom and success. After all, Atticus Finch in To Kill a Mockingbird truly deserves the gold medal for being the greatest hero as well as the best parent in AmericanShow MoreRelatedTo Kill A Mockingbird Character Analysis Essay711 Words   |  3 Pages In Harper Lee’s novel, To Kill a Mockingbird, she writes about what it’s like to live in a small town around the 1930s. Lee tells the story of life in the town of Maycomb through the eyes of an innocent girl named Scout. 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Christian Influence on Dorothy Day for Dedication - myassignmenthelp

Question: Discuss about theChristian Influence on Dorothy Day for Dedication. Answer: In a society that glorifies fame, wealth, and heroism through televisions and books one is left with only one question to ponder, what makes an authentic hero? Is it courage, conviction, determination, dedication, or leadership? To many who know her story, Dorothy Day encompasses all the mentioned qualities. She is a woman of compassion, who prioritized the lives of the poor before her own. She is an epitome of what a leader can be, not by transforming others but by transforming themselves. All through her life, Dorothy was a harbinger to the church, an activist for the poor, and a leader to the state. Dorothy came into the world on 8th November 1897 at Brooklyn in New York. Her parents were Mr. John Day and Ms. Grace Day; she was a third born in a family of five[1]. She was opposed to organized religion in her high school days because she never witnessed religious people assisting the poor and the needy in her environs. Her conversion and religious progress was a gradual process tha t eventually left her a staunch Catholic. This essay, therefore, will focus on how Christian beliefs influenced her life and how her life reflected these beliefs. Dorothy Days legacy manifests a radical movement which alleges fidelity to the church and the gospel. Besides, it reveals personification of the gospel in an icon which is engrossed in social issues of her generation. In an era characterized by prevalent violence, totalitarian governments, racial discrimination, and desire for self determination, Dorothys encouraged responsibility towards the needy and the poor, non-violence, and loyalty to God and to community[2]. This legacy was inspired by her admiration of the apostolic church, in the book of Acts of the Apostles. She thus felt that the apostolic era should challenge a Christian in building community, serving the poor, and growing in faith. Her love of scripture especially the Gospels, Psalms, and the Pauline writing inspired her convictions. Besides, the teaching and the examples of Jesus Christ were at the core of her social work. The preferential option for the poor, made Dorothy Day utilize her energies to ensure she is in solidarity with the poor. The Latin American theology which advocated for the preferential for the poor inspired her in the works of mercy. Furthermore, in her desire to identify with the poor, she vowed to voluntary poverty which made her connect easily with the sick, homeless, and the desperate in the society. Her value of Gods creation also propelled her in doing the works of charity and mercy. She felt that any form of oppression or devastating poverty robed people of their freedom, life, and dignity. As a result, she gave herself to enhance the fullness of life for the fellow brothers and sisters in Christ. Similarly, Dorothy Day was motivated by her desire to imitate Jesus Christs condemnation of injustices. Although speaking against injustice appeared folly during her time, Dorothy just like Christ was cognizant of the injustice systems. Consequently, she persevered different forms of intimidations and ridicule to oppose injustices. These acts of courage made her stand as a prophetic witness who manifested her beliefs through public works and words. Just like Paul the Apostle or Christ, she believed in taking her message to people in the streets[3]. Her message was opposed to using of any form of violence in solving human problems. She thus enhanced human dignity through almsgiving, prayers, civil disobedience, and fasting. The story of Jesus and the Samaritan woman at the well was also very inspiring to her especially as far as reaching people were concerned. After conversion to Catholicism, Dorothy Day was so much influenced by sacramental celebrations, particularly the Eucharist; she thus relied on the Eucharistic celebration for spiritual edification. Moreover, Eucharist made her perceive the world, nature, its people and creation to full of God's love and splendor[4]. This perspective of the universe made her reach the poor regardless of ethnicity or race. Besides, it made her develop a sense of appreciation in both good and bad times. This sense of gratitude eventually led her to fully trust in God's providence in the course of her charity work. As a result, she was known as a woman, who expressed appreciation to God, to people around her as well as to all who supported and read her magazine. The life and work of Dorothy Day reflected strong Christian beliefs and well-founded theological convictions. These Christian beliefs can be witnessed in her life. For example, she accepted voluntary poverty, therefore residing in a house of hospitality together strangers and with derelicts. Besides, she embraced unconditional pacifism as well as working against various form injustices to the point of imprisonment[5]. This choice of life explicitly illustrated Christian personalism which was inspired by a complete identification with the Sermon on the Mount. As a consequence, Dorothy Day spent her entire life after conversion doing the works of mercy. In doing so, she prioritized God above all else. Dorothy Days conviction that Christ was in the stranger made her an icon of the Christian faith[6]. She was immersed in believing that God is to the poor and needy to the point of concluding that, those who cannot recognize the face of Christ in the poor and the needy are atheists. Throug h her, Dorothy Day assisted Christian in recognizing that Christianity was an exercise in futility without hospitality, because God was synonymous with hospitality[7]. In conclusion, it is vivid that Dorothy Days conversion and spiritual development manifest how Christian beliefs can transform an individual to become the epitome of those beliefs. Despite Dorothy Day appreciating that God is manifested in other numerous ways, she was convinced that God was ultimately revealed to us through others. Therefore, every Christian must strive to an agent of grace to the other person. Christians are bound only for one purpose- to realize Gods agapic love. This agapic love is realized once Christians accept to be sacraments to each other. It is thus logical to conclude that, God has given us the gift of one another as a preview of how heaven will be like. Bibliography Bazan, Jessie. "Dorothy Day: The Contemplative Catholic Worker." Obsculta 10, no. 1 (2017):73-86. Ellsberg, Robert. "Dorothy Day: A Saint for Our Time." Spiritus: A Journal of Christian Spirituality 16, no. 1 (2016): 1-20. Kirylo, James D., and Drick Boyd. "Personalism, Humanism, and a Freirean Spirituality Toward Humanizing Humanity." In Paulo Freire, pp. 27-39. SensePublishers, Rotterdam, 2017. Peters, Benjamin T. "Ignatian Radicalism: The Influence of Jesuit Spirituality on Dorothy Day." The Catholic Historical Review 103, no. 2 (2017): 297-320. Richey, Lance Byron. "Stages Along Life's Way: House of Hospitality and the Development of Dorothy Day's Spirituality." American Catholic Studies 126, no. 1 (2015): 25-41. Sheldrake, Philip. Spirituality: A brief history. John Wiley Sons, 2013. Simkins, Ronald A., Michael G. Cameron, John J. O'Keefe, and William SJ Harmless. "Bibliographies for Theology: Spirituality and Mysticism: Spirituality in the Modern World." (2017).