“History exists only when it is “made” by the historian.” (Vince, 65). According to R.W. Vince, it is very easy for researchers to get lost between “fact” and “interpretation” when documenting theatre history. Even when scholars uncover identical pieces of information, they may each have their own personal explanations as to why these facts exist. In turn, readers must exercise critical analysis when studying scholar’s research and not fall into the trap of viewing history from the author’s perspective. Personally, I believe Leslie Read’s chapter on the “Beginnings of Theatre in Africa and the Americas” is both fact-oriented and assumption-oriented, and must be scrutinized from many angles.
In the first part of the chapter, Read describes Egyptian theatre “festivals” dating from 2600BC onward. The documented festivals were found on “papyrus excavated… in 1896. Each scene in this “production notebook” consists of an account of an action, a mythological explanation, a short dialogue involving two or more characters, together with directions concerning subsidiary roles, the inclusion of song or dance…” (Read, 94) This ancient document is an actual record of the Egyptians performances and helps to explain their festivals. From these papyrus designs, Read concludes, “Every symbol, gesture, sound and embodiment seems shaped to trigger a chain of significations in the onlooker, so that each episode compacts and resonates with shared assumptions… continuity and coherence depend on the network of social, religious and political relations which are articulated and sustained, even taught, by these festival enactments.” (95) After studying the Egyptian theatrical texts, Read draws conclusions about the messages and meanings the performers were trying to convey. In accordance with Vince’s perspective, I believe that another historian could have studied the papyrus scenes and drawn a different conclusion as to the purpose of the Egyptian festivals. Perhaps by examining the documents, conclusions could have been made about the role of children or the importance of a strong work ethic. The point is that the document consisted solely of drawings and short dialogues between performers. There are limited facts available, and speculation is needed to complete the picture. The facts are but dots on the page, and Read connected those dots by providing possible explanations as to why these events occurred. Although these may be the correct inferences, after reading Vince’s article, I realize that this is not the only explanation.
After I re-read Read, I noticed that the facts about Egyptian festivals that took place over 1000 years were treated as one piece of evidence.
Before the life on Broadway, before famous hit musicals such as the Sweeney Todd, Phantom, Chicago and Annie, that drove people into New York to see America’s professional theatre. The America’s professional theatre was spread throughout the country. In the mid- to late-19th century, actors and managers would put together a company and tours playing for weeks at a time in cities such as Chicago, San Francisco and they also performed in little towns along the way. But then came the Theatrical Syndicate, which was often referred to as “The Syndicate.” Which composed of six men that would change the United States theatre forever.
This paper will offer a commentary on Herodotus’ Histories 2.129-135. Book Two of Histories concerns itself with Egypt; specifically chapters 99-182 detail rulers of Egypt both legendary and actual. Book Two is distinct from the other books in Histories as it is in this book that we predominantly experience Herodotus as an investigator. More precisely it is in Book Two that Herodotus treats first person experience not as direct evidence but as a method of assessing the accounts of others. Chapters 129-135 provide us with the tale of King Mycerinus as recounted by whom Herodotus refers to in 2.127 as simply ‘ÆGYPTIOI’. These Egyptians are referred to at various points in Book Two and at times appear to refer to what might be termed ‘Egyptians in general’ . However, we can make a reasonable assumption in this instance, given what has been stated before at 2.99 and what is stated later at 2.142, that the Egyptians that provide Herodotus with the tale of King Mycerinus are probably priests. It should not be assumed that priests are any more reliable than the lay Egyptian in Histories however; the Egyptian priesthood did not necessarily concern itself with historical accuracy. Indeed the inclusion of priests may simply be a Herodotean literary device designed to reinforce his reader’s credulity.
GATTACA (1997) is a science fiction movie where one’s capabilities are determined by their genes since birth. Vincent Freeman is displayed as the main character where he needs to overcome his weaknesses through hard work and consistent determination to achieve his goals at Gattaca Space Academy. Alterations of genetics play a major role in the movie where only ones with flawless genes can achieve their dream career and ‘genoism’ became a new form of inequity. Society looks down upon Vincent including his parents because he was born naturally with physical limitations known as an ‘invalid’ whereas his younger brother Anton was genetically modified before his birth. Anton was born as ‘valid’ and was held highly by everyone due to his perfect genes chosen by his parents. As a result of discrimination down to...
...or historical records and scribing. In this manner, each section showcased the idea of purpose behind each Egyptian artifact; while all items are very ornate and artful, this separation proves the Egyptians lack of embodying “art” so much as embellished items of practicality and function.
Primary sources, such as archaeological sites, artifacts and written material from different historical periods gives one an insight into the lives and beliefs of the people and the culture responsible for creating those artifacts and shaping their lives. Ancient Egypt, with its treasure trove of excavated sites, the treasures of the tombs of the Pharoah’s, the vast collection of inscribed stones and detailed papyrus scrolls shows us the beliefs which informed ancient Egyptian culture.
Genoism is the discrimination by genetics. Invalids are individuals who have been naturally conceived, and have completely randomized genes. Invalids generally live shorter lives, and cannot compete physically/mentally with Valids. Invaids are not
When Karl Marx wrote “the Eighteenth Brumaire of Louis Bonaparte,” he interpreted the historical stage and his writing of history as parts of a theatre: he writes;
Russell Brown, J. 1995. The Oxford Illustrated History of the Theatre. 3rd ed. Oxford: Oxford University Press.
...to maintain the Empire for so long. But in the book, the author expands on each idea with more in-depth stories behind it, such as, the love story of the Egyptians, their lavish social lifestyle, the art of cooking, and their extravagant homes, that were lavishing, yet comforting and welcoming.
Over thousands of years, the ancient Egyptian civilization been closely associated with religion, mythologists have considered itself one of the most important fundamentals of the Egyptian civilization, more than five thousand years, and the pillars of the establishment of the Egyptian state and standardization. However, I was always fascinated about the myths in the middle east, not because I was born in Iraq and grew up in an Assyrian family, it’s because the ancient Egyptians have contributed in adding many civilizational achievements to the world through the knowledge of their agriculture, stability, creating the first major central country in the region, and may be accompanied by the presence of major achievements in various fields in
Iversen, Erik. The Myth of Egypt and Its Hierolyphs In European Tradition. Princeton, New Jersey: Princeton Univeristy Press, 1993.
Actors were expected to memorize hundreds of lines at a time. While one play could be performing, actors would be practicing lines for their next show. Play writers also began to make roles for the actors in the theatrical pieces. The theaters that actors performed in were roofless so that the sun could be used as lighting. Theatrical shows were held in the afternoon because it provided the best amount of light for the show. When the people gathered into the theater, the different classes of people were separated by where they could afford to sit and watch the show. The lower classmen were situated on the bare earth where it was dirty and smelly because it was never cleaned. The owners’ of the theaters found it less expensive if they did not keep high maintenance of their establishments. Higher classmen sat under a roof and for a penny more, they could buy cushions for their seats.
Avant-Garde Theater is often referred to as the “Theater of the Absurd” (Aronson 112). These words coincide with the historical events that occurred prior to the 1950s. The occurrences in the 1950s society were the inspiration for the genesis of Avant-Garde and playwrights, such as Samuel Beckett.
The name most associated with excellence in theatre is William Shakespeare. His plays, more than any other playwright, resonate through the ages. It may be safe to say that he has influenced more actors, directors, and playwrights than any thespian in the history of the stage. But what were his influences? During the Middle Ages theatre was dominated by morality, miracle, and mystery plays that were often staged by the church as a means to teach the illiterate masses about Christianity. It wasn’t until the early sixteenth century that Greek tragedy experienced a revival, in turn, inspiring a generation of renaissance playwrights.
Throughout history, civilizations have evolved in many different facets. One of these components would be communication and in a narrower aspect, entertainment. We will delve in how entertainment has evolved, enlightened, and transformed throughout time. Each era beginning with Thespis in 6th century BC to present will be discussed and detailed to show the impact that entertainment has made upon generations and how it continues to advance: from men being the only performers allowed on stage to women’s entrance into entertainment; performances once held in amphitheaters to now transmitted via satellites and broadcasted live in our homes are only a few of the many topics that will be examined in what you are about to read.