Choose one (1) of the following. Answers should take the form of a short, five-paragraph essay, with a thesis and distinct supporting arguments that draw on specific historical evidence.
ESSAY QUESTION
Choose one (1) of the following. Answers should take the form of a short, five-paragraph essay, with a thesis and distinct supporting arguments that draw on specific historical evidence and examples….
• Analyze the relationship between theatre and religion in three historical contexts examined in this course.
• Analyze the onstage representation of marginalized people in three plays examined this term.
• Drawing on detailed examples from at least three historical contexts studied in this course, identify and explain some of the challenges faced by theatre historians.
• What does it mean to “read against” a historical text? Apply this concept to three plays studied this term.
• Compare and contrast the purpose or function of theatre in at least three historical contexts examined in this course.
I PROVIDED ALL THE PLAYS READ THIS TERM. KINDLY FOLLOW THE ESSAY INSTRUCTIONS.
All the plays read this term
Greek Tragedy: Sophocles’ Oedipus the Kin
The Greek Creation of Female Parts” by Sue-Ellen Case
Greek Comedy: Aristophanes’ Lysistrata
Roman Comedy: Terence’s The Eunuch
Unspeakable Histories: Terror, Spectacle, and Genocidal Memory” by Odai Johnson
Classical Indian Theatre: Shudraka’s The Little Clay Cart
Classical Indian Theatre
“A Collision of Cultures: Some Western Interpretations and Uses of the Indian Theatre” by Rustom Bharucha
Classical Chinese Theatre: Guan Hanqing Snow in Midsummer
Medieval Theatres in Europe Part 1: Hrosvit of Gandersheim’s Dulcitius
Medieval Theatres in Europe Part 2: Everyman by Anonymous
The European Renaissance: Italy…..Italian Renaissance Commedia
dell’Arte
“Women and Performance: The Development of Improvisation by the Sixteenth-Century Commedia dell’Arte” by Kathleen McGill
Early Modern English Theatre: Marlowe’s Doctor Faustus
Japanese Noh Theatre: Zeal Motokiyo’s Atsumori and “A Mirror Held to the Flower
Japanese Kabuki Theatre
European Colonies: Sor Juana Inés de la Cruz’ Loa for The Divine Narcissus
AND Marc Lescarbot’s Le Théâtre de Neptune en la Nouvelle-France
Scenes of Cognition: Performance and Conquest” by Diana Taylor
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