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Theatre in changing the society
Greek modern theatre
Greek modern theatre
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Progress and Necessity
That theater has undergone many changes since its early incarnation in ancient Greece is a fact obvious even to the casual observer. And it is likewise clear that, as the cultural and social structure of the world shifts and changes over time, it is appropriate that its art forms change as well, in order to address appropriately the new reality in which they exist. However, perhaps not too unexpectedly, there are those who reject our modern manifestation of theater as insincere or false -- indeed, as there are in every time those who contest the latest evolutions of all types of art.
Chief among those who disapprove of the theater of their own (and, in fact, nearly all) time is Friedrich Nietzsche, a philosopher who seems to have made his reputation largely by being gloomy and arrogant. It should not be surprising to us that a man who had little good to say about anything (other than himself and the things he liked) would criticize the greater portion of the history of any art form, but what is interesting -- and, moreover, an instance of a particular mistake which seems to have afflicted others as well -- is the reason he gives for his displeasure.
According to Nietzsche, worthwhile tragedy perished even before the fall of ancient Greece, and the cause of its demise was the rise of reason. As he says in The Birth of Tragedy,
"When after all a new genre sprung into being which honored tragedy as its parent, the child was seen with dismay to bear indeed the features of its mother, but of its mother during her long death struggle. The death struggle of tragedy had been fought by Euripides . . . . Tragedy lived on there in a degenerate form, a monument to its painful and laborious death (Nietzsche 70)."
As we find out later, Euripides was merely acting under the influence of Socrates -- a terrible man, a plague upon the Athenian state, whose listed faults remind one of Nietzsche himself -- but that is little comfort; the damage is done. And what is the crime of Euripides, this upstart dramatist, who dared introduce a new element to the theater? Apparently, that he "succeeded in transporting the spectator onto the stage (ibid.)" -- that he permitted the common man in the audience to identify with the actors in a more personal way, and therefore shortened, perhaps eliminated, the distance between the two camps.
Aristotle, Antigone and Billy Budd In Poetics, Aristotle explains tragedy as a kind of imitation of a certain magnitude, using direct action instead of narration to achieve its desired affect. It is of an extremely serious nature. Tragedy is also complete, with a structure that unifies all of its parts. It is meant to produce a catharsis of the audience, meant to produce the emotions of pity and fear and to purge them of these emotions and helping them better understand the ways of the gods and men. Tragedy is also in a language in both verse and song. Aristotle's definition is clearly applicable to both Herman Melville's Billy Budd and the famous Greek tragedy Antigone by Sophocles.
The value chain analysis can be examined as to whether they provide opportunities for differentiation or cost reduction. According to Porter, the value chain model is a useful analysis tool for defining a firm's core competencies and the activities in which it can pursue a competitive advantage by following one of the two strategies:
Here we run up against the bugbear of historically informed performance. So many of the treatises (in music and dance as well as in acting) depend on the student's imitation of an admired master, and a gradual perfection of "good taste" as his society constructed that elusive quality. We cannot recreate those apprenticeships, those saturations in a period aesthetic. However, by constructing exercises along the lines of a Renaissance aesthetic, we may expose some of the differences between what the Shakespearean audience saw, and what the North American audience sees today.
A tragedy is defined as a dramatic composition, often in verse, dealing with a serious or somber theme, typically that of a great person destined through a flaw of character or conflict with some overpowering force, as fate or society, to downfall or destruction. The play Antigone by Sophocles displays many qualities that prove to form into the epitome of a tragedy. Tragedy is usually marked with a person of great standing—in this case, a King—who falls because of hubris, or extreme pride. Antigone proves to live up to both of these definitions which is proven through its themes. Sophocles uses many techniques in this tragedy to contribute to the overall theme. This theme is accomplished by creating emotions in the readers to evoke the understanding of the theme. In the play Antigone, Sophocles uses the themes of pride, power, and femininity to convey his overall theme of tragedy.
In definition, private property is the right of persons and firms to obtain, own, control, employ, dispose of, and bequeath land, capital, and other forms of property. Private property is different from public property in which public property are assets owned by state or government compared to a private business or individual. Yet, in Marx’s opinion, “private property is thus the product, the result, the necessary consequence of alienated labor, of the external relation of the worker to nature and to himself. Private property thus results by analysis from the concept of alienated labor, of alienated man, of estranged labor, of estranged life, o...
In order for Panera to create value to the customer that exceeds the cost of providing the food and the excellent customer service, the company must have an effective value chain. The primary activities in the value chain include: marketing, Bakery Cafe Operations/service, site selection and cafe environment, supply chain and franchise operations.
Value chain analysis (VCA) is a useful tool for working out on how we can create the greatest possible value for the customers. It represents the internal activities for the engagement firm or organization when transforming the inputs to outputs. In business, we take the raw inputs, and add value to them to become something better for the people. Like in the manufacturing industry we taking the raw material and add value to it to convert them to something customers want to buy (Jurevicius, 2013).
In Oedipus the King and Death of a Salesman, we can see that tragedy is not just a thing of kings and nobles, but that of everyday people as well. We discover that even though the two scenes are set centuries apart, men still have many of the same base struggles, regardless of how they approach them. The differences in the plays, attest to the times they were written and the audience that is meant to view the work. However, I believe as I stated earlier, that tragedy as a whole seems to probe the role of mankind in the universe and unless we become aware of any greater truths, I believe we shall see this scenario as constant thread for centuries to come.
As described by Kaplinsky and Morris (2001), a value chain can be defined as “the full range of activities which are required to bring a product or service from conception, through the different phases of production, delivery to the final consumer and final disposal after use”. The study in the value chain sector will improve the attempt to understand the distribution of power and value in the chain and to be able to address the agency of workers and small producers (Mitchell and Coles, 2011:11).
A modern tragedy of today and a tragedy of ancient Greece are two very different concepts, but ironically, both are linked by many similarities. In “Poetics”, Aristotle defines and outlines tragedy for theatre in a way that displays his genius, but raises questions and creates controversy. Aristotle’s famous definition of tragedy states:
Greek and Elizabethan theatre, while similar in some respects, had a few large differences. The Greeks believed in a certain unity of theme, which was prevalent throughout the production. Greek plays were often drawn from myth or of historical significance, so it seems that only ki...
Theatre as we know it now was born more than two thousand years ago and has gone through many streams until it reached the current modernity. Among these streams is the avant-garde theatre. This theatre achieved a break in the traditional theatre and became the forefront of a new experimental theatre. Therefore it is necessary to ask how this theatre started, what impact it had on society and if this type of theatre is still common in our modern era.
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern
The full range of firm's activities, from the conception of a product to its end use and beyond is called value chain. It includes activities such as design, production, marketing, distribution and support to the final consumer (Porter, 1986; Giraffe et al., 2001). Generally the activities in a value chain are performed by a single company or spread among several different suppliers, enclosing goods or services within a geographical area or over different locations. The denomination of "Global value chains" reflects the trend of dispersion of value chain activities across the world. Several firms split their value chains and distributes production stages across many countries, at the same time, they outsource parts of their value chains
There is no doubt that tragedy has changed considerably since Aristotle first wrote the definition of tragedy in his Poetics in Ancient Greece, but these changes raise the question of whether modern tragedy still fits the classical definition of tragedy. Tragedy has evolved greatly since the times of the classical tragedies, including Oedipus Rex and Hamlet, to the more modern forms of tragedy, as seen in The Hairy Ape and Death of a Salesman. Despite its evolution and deviation from Aristotle’s definition, modern tragedy holds by the same principles, and retains the same power and message expressed by Aristotelian tragedy.