At the end of the XV – the beginning of the XVI century. conquest began, or conquest (in Spanish conquista – conquest), the Spanish and the Portuguese of Mexico, Central and South America. Europeans captured lands and cities, planted their culture and faith. Playing out the auto – medieval religious beliefs, at the end of which the infidels converted to Christianity, the Spaniards produced a mass rite of Indian baptism. The theater became the means of ruthless struggle of Christianity with paganism. Auto played out in the streets and squares of Indian villages, in Jesuit monasteries erected on the conquered lands, in front of the giant idols of the Indian gods.

However, the Indian culture did not disappear in the theater without a trace. So, in the works of the outstanding Mexican poet and playwright of the XVII century. Juanas Inée de la Cruz, who followed Spanish patterns, also traced the Indian pagan motifs.

Gradually in Latin America, theatrical art is formed, which is a synthesis of European, Indian and Negro cultures.

The situation of Negro slaves on the plantations of Cuba, Brazil, Haiti and other Latin American countries was completely disenfranchised. Only 2-3 times a year, in the days of the carnival, they managed to feel themselves equal in rights. In Cuba and in Brazil by the end of the XIX century. Carnival becomes one of the most striking theatrical spectacles. Carnival theatrical forms develop: the theater-buffo, the theater-sajnet, comic dances-scenes such as rumba, etc.

The interpenetration of the three world traditions – Indian, Negro, European – produced the first results by the middle of the 19th century. European romanticism, with its pathos of freedom, became the banner of the struggle of the Latin American peoples for liberation from Spanish colonization. In the plays of Latin American playwrights, tyrannical motifs appeared, in an explicit or implicit form, calling for the overthrow of foreign domination. The struggle for national liberation during the XIX century. was at the same time a struggle for the liberation of national culture. In Latin American countries, universities, theatrical schools, theaters began to open. There were talented playwrights: in Cuba – Milanes and Avellaneda; in Mexico – Calderoda and others.

By the end of the XIX century, to replace romanticism came costumbrismo – a direction in art, close to naturalism. The main thing in the work of Latin American playwrights was the description of local customs, customs, nature, regional features of the language.

At the beginning of the XX century. Argentine playwright F. Sanchez in his works touched upon an important topic of national history, the sources of the national character. The image of a gaucho – nomadic shepherd, a free inhabitant of the pampa, as it were, strengthened the soil of history, instilled the roots of memory that the Argentines cut off, destroying almost all of the Indian population. The theme of the nation’s guilt for its historical past – for the destruction by the Europeans of the indigenous population of the continent, varying in different ways – became central to the Argentine theater, the entire culture of Latin America.

The Mexican Revolution of 1910-1917 had a huge impact on Latin American art. The thoughts, hopes and aspirations of the progressive cultural figures of Latin America are now connected with the comprehension of the national past and at the same time are directed to the future. This manifested itself in the work of prominent Latin American playwrights – Mexican R. Usigli, Argentines O. Dragoon, C. Gorostis, A. Kussani, R. Coss, Venezuelans C. Reggno, I. Shakron, Cubans H. Triana, A. Estorino and many others.

The Mexican Revolution restored the art of Mexico to its Indian roots. In the giant wall paintings, murals, graphics by David Alfaro Siqueiros, Diego Rivera, José Clemente Orozco, images, motifs and the technique of Indian temple painting were used. In return to the Indian roots, cultural figures of Latin America saw an expression of the specifics of national art. In the theater, the rebellion of the Indian leader Tupac Amaru (XVIII century.), The drama “Apu Ollantai” gave plots to new plays. In them the concepts “Indian”, “Indian”, expressing strength, nobility, are opposed to the barbarism of whites.

Since the early 60’s, the art of Latin America, and primarily the theater, comes back from the idealization of the Indian past to reality. And the reality of the continent from that time up to our time is turbulent socio-economic changes, revolutions, military dictatorships, coups, class struggle. A complex, full of contradictions and contrasts the life of Latin America is reflected in the theater.

The modern Latin American theater is primarily a political theater, sharply social, continuing the traditions of the theater of Brecht, E. Piscator (see Political Theater). By its expressive means, it is diverse. The theaters of collective creativity that first arose in Colombia (the most famous are La Candelaria, Teatro Experimental de Cali), then in Cuba (Escambray) are the agitation theaters, which often appear in open areas in remote peasant settlements. Grotesque, posterity, direct communication of actors with the auditorium affect first of all the ideology and consciousness of the masses. Simple scenes of productions call for strikes, promote the benefits of agricultural cooperation.

The theater of collective creativity not only inherited the experience of the world revolutionary theater of the masses, but also used the experience of the Latin American acute social theater. Movement of independent theaters of the 30-ies. (semi-amateur, semi-professional folk groups) arose as a reaction to the dominance of commercial art. The independent Masqueras in Argentina, Orientacion, Ulysses in Mexico in their programs demanded the artistry and civic-mindedness of the theatrical art, fought for its dissemination and democratization. This gave positive results; so, for example, in Ecuador independent theaters put more performances than commercial theaters.

At the present stage, the so-called New Latin American Theater has acquired immense importance. One of its varieties is the Open Theater in Argentina. His activities proved so powerful that it contributed to the fall of the military dictatorship in 1982. 21 one-act plays, mostly anti-fascist, were played in the largest cultural centers of the country for several months. Famous directors, artists, playwrights, theater and cinema actors participated in this festival of free art. Low prices for tickets, performances available to the widest spectator, the seriousness of the problems posed not only restored the prestige of the theater, but also revived the national culture in a dictatorship. The activities of the Open Theater erased the line between art and political manifestation. The same applies to the Uruguayan troupe El Galpón, which has been in emigration since 1973; to the Chilean theater of insurgents “Alef”, which arose in a concentration camp; to the famous, based on improvisation “theater-newspaper” Brazilian Augusto Boal. Boal even created a whole theory, according to which the main thing in a person is not an individual, but a public consciousness. In the performances of Boal, the actors change roles in the course of the performance: after all, each person himself determines his role in history.

Theaters of Latin America, forced to emigrate from countries where the rules of the junta, founded in Europe in 1977, “People’s Latin American Theater.” Since then, regularly held festivals called “Latin American Theater in Exile.” Along with such major festivals as “El Cervantino” in Mexico City or the international Caracas festival in Venezuela, the festival of the theater in exile is a vivid show of the art of the political avant-garde.

The new theater takes into account the complex interlacing in the Latin American reality of the achievements of bourgeois civilization and the archaic, primitive life of the Indians. He combines political sharpness with metaphors, folk imagery, based on folklore, myth. In the 80-ies. received recognition of the production of famous Cuban directors V. Revuelta and B. Martinez. They resurrect in the tragedies of F. Garcia Lorca “Yerma”, “Bloody Wedding” the poetics of the ritual through rhythm, plasticity. Refined poetry, philosophy, art reach these performances to the simplest spectator.

Reviving the symbolism and metaphorical language of ancient civilizations in the theater, modern directors establish a special, close emotional connection with their viewers. This is how the modern theater in Latin America develops and at the same time the experience of the world theater is enriched.

The post Latin American Theater appeared first on richardfigures.com.

American acting programs

Students who have chosen the theater as their main direction of their studies study various aspects of dramatic art – from the design of the costume to the actual trends in the modern theater. Do not stand aside and other media: students can purposefully prepare for an acting or directing career in film and television.

The degree that future actors receive, filmmakers and screenwriters after completing their studies at the university is called Bachelor of Arts (BA) or Bachelor of Fine Arts (BFA). Some universities also offer master’s programs – Master of Fine Arts.

It must be said that it is possible to study acting skills or the history of the theater not only in the institutions of acting. Similar programs are offered by many liberal arts colleges. However, in the labor market in all countries of the world, the diplomas of specialized schools are the most valuable.

The best universities of acting in the USA

In 2016, the authoritative American magazine the Hollywood Reporter published Top 25 best theater schools in the world. The top five leaders were 4 American schools:

The Juilliard School, New York

The Juilliard School has for many years retained the title of the best educational institution in the world, teaching future actors, musicians, dancers. In 2016, the school once again led the global ranking of universities specializing in teaching performing arts from QS World University Rankings.

Yale School of Drama, New Haven

Yale School of Drama occupies the 25th position in the above rating. The school has programs for all theatrical specialties: acting skills, costume design, lighting design, sound design, direction, drama and dramatic criticism, theatrical management, etc. There are more Broadway productions and nominations for the Tony Award in the institution’s box than any other theatrical school in America.

Tisch School of the Arts, New York

Tisch School of the Arts prepares not only theatrical actors. The list of school programs also includes such courses as a movie and television. Among the people associated with Tisch, many famous film and theater actors, directors, playwrights and producers: Anne Hathaway, Woody Allen, Martin Scorsese, Oliver Stone, Debra Messing, and others.

UCLA, Los Angeles

Unlike many other educational institutions in the rating, UCLA is not a theatrical high school. However, university programs for the training of actors, dancers, directors compete confidently with similar courses in specialized universities. Many graduates of UCLA now work on Broadway and in Hollywood.

Also in the Top-25 were such American educational institutions as 25 UC San Diego, The Old Globe and University of San Diego Shiley Graduate Theater Program, Columbia, A.R.T. at Harvard, CalArts, Rutgers, Carnegie Mellon, American Conservatory Theater, DePaul, University of Washington, UC Irvine, USC School of Dramatic Arts, Brown, Boston University, University of North Carolina, University of Wisconsin, Actors Studio Drama School at Pace University.

The cost of studying at the universities of acting in the US

Training in a prestigious theatrical high school in America is worth a lot of money. For example, the year of study at the Yale School of Drama will cost about $ 30,000. On the study materials, accommodation and food will have to spend about 20,000 dollars a year.

At the same time, many American universities are not averse to paying (in whole or in part) studies to talented students. In the same Yale School of Drama, the maximum size of the scholarship is 35,500 dollars.

As a rule, scholarships are awarded on the basis of the academic success of the student, a portfolio of works that includes photo, video and other formats of materials and / or listening.

Pace University, ranked 25th in the Hollywood Reporter rating, is working closely with the Kevin Spacey Foundation, which provides scholarships for theater students.

The amount of financial assistance is 10,000 dollars a year – a quarter of the total cost of training in the Actors Studio Drama School. Every year, 7 outstanding students are awarded scholarships in the following fields: acting, theater, musical theater, direction, theater / film production.

Another American college, famous for its theatrical programs, Ball State University offers young talents to take part in the contest for one of 10 presidential scholarships. The amount of funding is 12,000 dollars per year (more than a third of the cost of training).

Acting education in America is a great start for an ambitious and talented student. Graduates of institutes of acting in the USA are the most frequent guests at the presentation of international prizes in the field of cinema and theater.

The post US acting universities: the best universities for future stars appeared first on richardfigures.com.

There are definitely new properties of memory. Now our main idea of reality is a news line. Before us flashed news, posts, pictures, momentary considerations, fragmentary thoughts, photographs of seals and stuff. All this is quickly fixed by the eye, deciphered and stored in the nearest storage tanks. We absolutely do not develop those “muscles” that were previously practiced by slow reading or other deep immersion in the material. Thus, we receive information, but not knowledge.

Today, knowledge about the theater, like other knowledge, replaced information about it. In the way this information is manifested, there is a certain aesthetics. This aesthetics is also associated with a new type of look: it is, for my taste, very narrative, it is much less associative. Because it is reading and deep work with memory that require associative connections. Today nothing like this happens. In this no one is to blame, just the world has changed a lot.

You can pay attention that the recent works of many great masters of the modern theater are purposely simple, they play “for simplification”; in some ways they are similar to serials, in something – to the information from the catalog. That is, the viewer does not look “Hamlet” – he looks at the content of “Hamlet”, gets information about him. The viewer does not read the interpretation today and does not want to understand the director’s thoughts, does not look at the material through the deep play of the actors. He is frightened by the “incomprehensible”, “ambiguous”, he wants to receive not so much an impression, but a clear message, a final conclusion. This process of “reduction of meanings” can disturb, maybe even in something interesting; in any case, this indicates that the ways of perception of the theater vary greatly.

The criteria for evaluating the acting are also changing: rare, sophisticated spectators are able to distinguish a good game from a bad one. We can no longer give an unambiguous answer, what is “good” in the art of the actor, and what is bad. This is a matter of a separate study. But if we talk about trends, here’s one of them: there were directors who put the actor’s task “not to play.” Apparently, they are frightened by acting technique, first, as something unclear to them, and secondly, as an attribute of the “old” theater, where the watershed between the profane and highly professional was more obvious. Actor in the modern theater does not play, for example, a soldier – he transmits information about him. He, preparing for the role, does not record all the details of his hero in the notebook, does not “take” the prototype of his hero interview, does not experience his life, does not “observe” and “sketches to the image,” he simply and distinctly reports: soldier. And today this is quite enough for the viewer, he believes that this is a soldier, and he does not need any further explanations and proofs. The viewer believes in what is happening on the stage just as he believes the messages from his news tape, where the combination of posts is the main news message of the day. Facebook does not need proof. If the viewer from the program and the poster knows that Hamlet is before him, he no longer needs proofs in the form of a psychological disclosure of the image, he already believes so. Modern theater is a theater of maximum naivety and trust. This is not good or bad, today it is so.

Another trend: from the theater there dissappeared such a thing as “eternity”. What an eternity the news can be! She lives today, now. The theater adapts easily to this reality, because theater is an art that also lives here and now. But nevertheless the theatrical masters of the 20th century managed to get out, let’s say, “to higher spheres” and create a tension of the invisible. At spectators on performances there was an impression, that they have collided with display of something metaphysical, otherworldly. There was a secret in the theater. Now this also goes away, the viewer is immersed in new technologies of viewing and perception. He does not need the secrets and secrets of past eras. In our era, many of their secrets and mysteries.

Time in the modern theater shrank to a second. The performances are sometimes really similar to Facebook and the local authors: the curse of the “bloody regime” is interspersed with references to the YouTube videos of popular performers, the reflections about the momentary and numerous selfies. In all this little energy is available.

Many modern productions purposely avoid direct influence on the viewer, sometimes it comes to the fact that actors are even excluded from the performance. There are performances-installations. But the viewer, as it seems to me, always reacts to energy. Another thing is that sometimes it can scare, because you get used to, sitting alone in front of the computer, do not feel the waves from the person with whom you are, for example, in a chat. And here on you from the stage there is an energy wave, which may well upset you. In this sense, the theater of living energy, the theater of large energy forms, it is in some way, of course, total or even authoritarian, it influences, it influences, it can “turn the soul”.

The modern theater is diverse. There is a theater for the modern philistines, the townsfolk. Their tastes are conservative. They love the “classical” theater, not really understanding what it is. There is a theater for advanced hipster youth, there is a theater for children. There is a theater for the liberal intelligentsia. But all the same the modern theater is basically a theater for the bourgeois. Ladies in high heels, men in expensive suits who want to look for something that is guaranteed to be of high quality and well-known for a lot of money; gathering in the theater, they believe that this is exactly what is most fashionable and relevant today. They will come, they will look and, even if they do not understand anything, at least they will do a check-in. The modern theater is mainly business oriented, for money, for comfort, for a convention with a spectator and only a very rare theater is capable of breaking this convention – to scream from the stage or at least whisper very important for itself, but not always pleasant to the viewer’s truth.

The post Modern theater is like Facebook appeared first on richardfigures.com.

In the eastern theater with its metaphysical actions, unlike the Western theater with its psychological tendencies, the forms themselves master their meaning and meaning. The play of actors is based on canonized, honed receptions of expressiveness, stylized movements and gestures. Modern theater specialists note the tendency of the world theater’s energetic withdrawal into forms, when the art of directing does not consist in the reflection of the literary text, but in something, from the point of view of a radical theater elite, more significant for the theater. At the first approach, the motivation of the active aspiration of the European theater to the theater of other artistic ideas, more often, the ideas of the conditional Oriental theater, is revealed. These same tendencies also reveal themselves in modern American theaters, down to provincial ones. What is this way of borrowing, what is the nature of cultural dialogue in the theater world and what is the significance of the border in the constitution of the indicated process?

The movement towards “universality” – one of the most important attributes of the art of the 20th century, clearly revealed itself already at the turn of the century, at a turning point in the history of culture, when the system of a new artistic worldview was just beginning to take shape. At the dawn of the new century, the director’s theater makes one of the main search objects a sort of interpretative game with the epochs of theater history, with the languages and the styles of the theater of past centuries.

Modern avant-garde direction of the theater’s task is not to solve social and psychological conflicts and not to serve as a battleground for instructive passions, for all this leads to its complete dependence on literature. Artaud claimed that the language of gestures lay in the basis of the direction, he appreciated the brightness and visibility of the forms and was very upset when he did not find it in the theater: “How is it,” he wondered, “that in the theater (American, European) everything is specifically theatrical, which cannot be expressed in words, remains on the last plane? “. In his opinion, the theater cannot be a simple reflection of the text, because “it has its own language: it is plastic and physics … Because the true feeling cannot be expressed with words.” The transition to such a language gives the theater the opportunity to express itself with the help of various forms, gestures, sounds, colors, plastics, that is, to return it to its original purpose: restore it in a religious and metaphysical sense, meaning “reconcile it with the universe”, after all It is well known that the origins of world theater art lie in pagan rituals, rituals, in the grassroots folk culture.

Modern theatrical anthropology concentrates its attention precisely on the field of practice, paving the way for creativity through numerous special disciplines, techniques and aesthetics included in the work.

“Pear Garden” – so in Chinese is called the “Temple of Melpomene.” This poetic name of the theater was put into use by the famous Boston-esthete of the Tang Dynasty Ming-Juan. With him in the eighth century was the first school of actors, called “Jiao-fan” – “Pear Garden”. “Pear Garden” of the Chinese theater justifies its strange exotic name. The Chinese theater, as well as the Chinese actor, are exceptionally original and incomparable. This applies equally to the spirit of Chinese theater art, and to its technique.

The Chinese actor before the appearance on the stage was a long school of harsh and difficult training. The teaching started from 8 to 10 years of age. Every day, small candidates for actors performed dozens of acrobatic exercises. They studied fencing, improved in a special gait, comprehended the art of piercing falsetto. In the summer and winter in the morning, as soon as the dawn began to shine, the pupils of the “Pear Garden” were flocked to the air by senior masters for group classes. The future creators of charming moon fairies and seductive werewolves of unearthly beauty practiced hardest of all. They had to endure even the pain of bandaged legs, cramped in growth for greater similarity to female legs. The actors belonging to the master were punished, they were forced to endlessly learn plays and songs, and to strengthen their voices make unpleasant walks with a head thrown back and wide open mouth. As a result of such a long and tough preparation, the Chinese actor entered the stage fully armed with a multifaceted, carefully polished talent. Every movement is finished and harmonious. Every gesture of the beads is expressive. His gait is light and elegant. And he himself in his skillfully draped suit is like a sharp statue of painted ivory. The torments and sufferings of the actors were rewarded with a hundredfold, when the thorns of discipleship were replaced by roses of scenic triumph.

The modern practice of Chinese theatrical craft is different only in that the future actor makes his voluntary choice and finishes school (college, college) by a graduate. The acting techniques have not actually changed, just as the specific attributes of the Chinese theatrical performance do not change.

Nowadays art is born that seeks to fit the entire human universe into its limits, to unite, to bring together the West and the East, to create an aesthetic prototype of the all-human community of future centuries. Utopian dreams in this art blend with the mytho-epic images of the primordial unity of mankind “to the Babylonian conflagration.” To such artistic and philosophical searches belong the theatrical experiments of Jerzy Grotowski, Maurice Bejart, Peter Brook, Ariana Mnushkina, and others.

The post European and Oriental theatrical art in the metacultural space appeared first on richardfigures.com.

Tolu-bombilate

Shadow theater in Andhra Pradesh; Tolu-bombilate literally means something like “the dance of leather dolls” (formerly dolls were made from the skin of antelopes and deer, is now made from goat skin). It is distinguished by huge, about a meter in height, colored shapes, in which the puppeteers tell stories of “Ramayana” and “Mahabharata”. All the key members of the company are usually the heirs of family traditions. Kanda Ramadasu, the head of the troupe of this mini-film — master of puppets in the fifteenth generation.

Show performances at local festivals or, for example, in the markets, and it looks like this.

Cartoon “Dream of the Gazelle”

Cartoon, technology-Tolu-bombilate. The story about the Gazelle — from the “Panchatantra”, a Sanskrit collection of instructive stories.

And here is how it was done: one hundred lamps, table two and a half to three and a half meters and dolls.

Talawa-Kathu

The theater of shadows was formerly a temple of art, and this is particularly evident in the case of to pawn-kudu ritual, shadow theater of Kerala. Performances are shown only in temples in specially built halls; it is always full version “Kamba-Ramayana” — the Tamil version of the Ramayana. Involved in productions from 180 to 200 dolls, they last on average 21 days, nine hours a day (start in the evening and ends in the morning), but there is 70-day version. Not surprisingly, Tarawa-kudu first appeared on the brink of extinction: in 1991, Kerala had only two troupes. However, now the situation has improved slightly thanks to government grants and the fact that the troupe began to make short, on the hour, the export version (it would probably call them teasers) and to ride with them in European festivals.

A documentary about the last palaver — master of puppets from Kerala, preserving the ancient art.

Ravanchi

Theatre of Orissa is very different from other dolls is small, monochrome, hands and feet do not move — stays to compensate for this expressiveness and plot twists. Oddly enough — one of the living species of the Indian shadow theater: the performances are often quite modern heroes.

Clip on your favorite hare Krishna song from the Tamil film “Dasavatharam” (“Ten incarnations of Vishnu”), which can represent the look of the shadow theater performances in temples.

The post Krishna and the Indian shadow theater appeared first on richardfigures.com.

1. Pick up the subject. A lot of professors from colleges demand learners to respond critically to literary sources, pieces of viewpoints, and so on. When the paper is considered as a reaction to some literary work you have had deal with before, read the given piece at least several times very carefully, outlining the major points. Then pick an argument or a philosophical concept that can be exhaustedly analyzed in a short paper. For instance, you may argue that impact of Shakespeare may be easily witnessed in “Ulysses” by James Joyce. If you still cannot get “what is critical thinking paper,” then read the facts mentioned below very thoughtfully.
2. Be engaged in expanding the thesis. The whole essay has to possess the focus on the thesis because of its central argument characteristic features. The strong thesis provides peculiar information according to the topic you are going to address to. Give reasons related to arguments. For instance, it is possible to argue, “Kant fights on a thought that ethics are adapted from categorical imperatives, though that imperative witnessed by us does not guarantee instructions for all dilemmas of ethical character.” If being engaged in writing critical thinking papers, mind that the given statement offers a very short overview of the argument and clues regarding the essay’s direction.
3. Draft the essay by means of those arguments that back up the thesis. Apply supportive facts in case you are expected to conduct research. When this occurs and the paper is thought out to be analytical one, it will be important to provide a string of logical arguments to the order of the issue. Avoid using tangential points or any emotional tricks. Stay with the most persuasive fact and arguments that back up the thesis. Do not forget to observe all steps of critical thinking in a sequential order.
4. Outline the paper’s main body. When you want to respond to a peculiar text, try to sum up principal arguments in the first several sections. If your personal goal is to develop your own argument, emphasize ideas in the first couple of paragraphs. It is useful to assign every single subsequent paragraph to specific arguments. Make an explanation why this criticism does not apply.
5. Include a concluding paragraph that sums up all arguments made by you. The section, which contains the conclusion, has to recommend any future possible research process regarding any critical thinking topics you will choose in future.

Today, many students more often than not consider the option of online order of essays and homework assignments. Well, it is possible to think over this option but one should not forget that when doing something in your own (with the inclusion of paper writing tasks), you are able to learn something new and find out more about some interesting facts. So, do not avoid the opportunity to accomplish the paper all alone. Only in this case, this action will bring you some benefits. Otherwise, when you decide to place an online order, you might try this service: https://pro-papers.com/write-critical-thinking

The post How to Write a Critical Thinking Essay appeared first on richardfigures.com.

Many of the names of the operatic hit parade immortalized in filmed versions of classic performances created by the Directors in 1970-80-ies — Jean-Pierre Ponnelle, Franco Zeffirelli, Francesco Rosi, Hetzel Friedrich, Otto Schenk. This films-Opera still has not lost the freshness and thanks to the participation of outstanding singers became exemplary in terms of music. But many of the stagings of the next decades will require knowledge of the specific plot of the Opera and some viewers ‘ experience.

Alternative entry “of the Opera”, not limited to the above list assumes a good orientation in related arts and literature. Lovers theatrical drama of the first half of the twentieth century certainly happy to discover Janacek, Berg, Poulenc and Stravinsky. Romanticism in painting and literature, especially English, in tune with the aesthetics of Bel Canto

(Bellini, Donizetti, Rossini serious Opera); the earlier European sentimentalism French lyric Opera (Gounod, Massenet, Thomas). Shakespeare, Hugo, and Schiller-inspired many pieces of music Verdi; from the Baroque and classical drama — the shortest way to operas by Monteverdi, Handel, Vivaldi, Rameau, Lully, Gluck and early Mozart.

Opera has been called the most elite and expensive theatrical genre. The second definition exactly reflects the reality: the cost of an Opera does not go to any comparison with other spectacles, it is much more drama and ballet, second only to the musical. While the first statement can and should argue.

The first Opera production, according to the historians, took place in 1598. It was a closed presentation, organized in Florence around the Italian aristocracy. In 40 years the Opera has become a national treasure: in 1637 in Venice opened the first public Opera house, and the performances were attended, all who bought a ticket. Newly invented by the architects of the long line system the construction of the hall (unlike the previous tiers, when the audience ranks were located in a fan around the stage) was allowed to put all social classes over several floors that are tired. The Central box belonged to the monarch Lodge on the same or adjacent levels were repurchased close to it by the nobility; the farther away from the monarch — was the more modest social status of the viewer.

Until the late nineteenth century, the Opera was held in the entertainment system is actually the same spot currently occupied by the movie. The more was the success of new products, the more ideas given the Opera house. High fees allowed to Fund further production, there was a system of stars in Opera came with families, the public was offered drinks and food if you want to the box we could order dinner there and retire with the lady of his heart. The Opera house was a meeting place for high nobles and dignitaries, so there was appointed a business meeting to negotiate an important deal and got new useful contacts. And all this in parallel to what was happening on stage. Only in the late XIX — early XX century Opera was to go to an elite reservation, becoming highbrow entertainment, a genre with complex drama and even more complex musical language: entertainment she left the operetta and later the musical. But classical Opera repertoire from Handel and Mozart to Verdi and Puccini — it has been designed for very different audiences.

The post How to listen to opera appeared first on richardfigures.com.