greek theater essay introduction

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Heilbrunn Timeline of Art History Essays

Theater in ancient greece.

Terracotta amphoriskos (flask) in the form of a bird-man

Terracotta lekythos (oil flask)

Attributed to the Painter of the Yale Lekythos

Terracotta calyx-krater (mixing bowl)

Attributed to the Konnakis Group

Two terracotta roundels with theatrical masks

Attributed to the Dolon Painter

Colette Hemingway Independent Scholar

October 2004

Our interest in the theater connects us intimately with the ancient Greeks and Romans. Nearly every Greek and Roman city of note had an open-air theater, the seats arranged in tiers with a lovely view of the surrounding landscape. Here the Greeks sat and watched the plays first of Aeschylus, Sophokles, Euripides, and Aristophanes, and of Menander and the later playwrights.

The Greek theater consisted essentially of the orchestra, the flat dancing floor of the chorus, and the theatron, the actual structure of the theater building. Since theaters in antiquity were frequently modified and rebuilt, the surviving remains offer little clear evidence of the nature of the theatrical space available to the Classical dramatists in the sixth and fifth centuries B.C. There is no physical evidence for a circular orchestra earlier than that of the great theater at Epidauros dated to around 330 B.C. Most likely, the audience in fifth-century B.C. Athens was seated close to the stage in a rectilinear arrangement, such as appears at the well-preserved theater at Thorikos in Attica. During this early period in Greek drama, the stage and most probably the skene (stage building) were made of wood. Vase paintings depicting Greek comedy from the late fifth and early fourth centuries B.C. suggest that the stage stood about a meter high with a flight of steps in the center. The actors entered from either side and from a central door in the skene, which also housed the ekkyklema, a wheeled platform with sets of scenes. A mechane, or crane, located at the right end of the stage, was used to hoist gods and heroes through the air onto the stage. Greek dramatists surely made the most of the extreme contrasts between the gods up high and the actors on stage, and between the dark interior of the stage building and the bright daylight.

Little is known about the origins of Greek tragedy before Aeschylus (ca. 525-ca. 455 B.C.), the most innovative of the Greek dramatists. His earliest surviving work is Persians , which was produced in 472 B.C. The roots of Greek tragedy, however, most likely are embedded in the Athenian spring festival of Dionysos Eleuthereios, which included processions, sacrifices in the theater, parades, and competitions between tragedians. Of the few surviving Greek tragedies, all but Aeschylus’ Persians draw from heroic myths. The protagonist and the chorus portrayed the heroes who were the object of cult in Attica in the fifth century B.C. Often, the dialogue between the actor and chorus served a didactic function, linking it as a form of public discourse with debates in the assembly. To this day, drama in all its forms still functions as a powerful medium of communication of ideas.

Unlike the Greek tragedy, the comic performances produced in Athens during the fifth century B.C., the so-called Old Comedy, ridiculed mythology and prominent members of Athenian society. There seems to have been no limit to speech or action in the comic exploitation of sex and other bodily functions. Terracotta figurines and vase paintings dated around and after the time of Aristophanes (450–ca. 387 B.C.) show comic actors wearing grotesque masks and tights with padding on the rump and belly, as well as a leather phallus.

In the second half of the fourth century B.C., the so-called New Comedy of Menander (343–291 B.C.) and his contemporaries gave fresh interpretations to familiar material. In many ways comedy became simpler and tamer, with very little obscenity. The grotesque padding and phallus of Old Comedy were abandoned in favor of more naturalistic costumes that reflected the playwrights’ new style. Subtle differentiation of masks worn by the actors paralleled the finer delineation of character in the texts of New Comedy, which dealt with private and family life, social tensions, and the triumph of love in a variety of contexts.

Hemingway, Colette. “Theater in Ancient Greece.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/thtr/hd_thtr.htm (October 2004)

Further Reading

Greece and Rome . Introduction by Joan Mertens. New York: Metropolitan Museum of Art, 1987. See on MetPublications

Bieber, Margarete. The History of the Greek and Roman Theater . 2d ed., rev. and enl. Princeton: Princeton University Press, 1961.

Bothmer, Dietrich von. Greek Vase Painting: An Introduction . MMA Bulletin 31. New York: Metropolitan Museum of Art, 1972. See on MetPublications

Green, J. R. Theatre in Ancient Greek Society . London: Routledge, 1994.

Green, J. R., and Eric Handley. Images of the Greek Theatre . London: Trustees of the British Museum, 1995.

Hornblower, Simon, and Antony Spawforth, eds. The Oxford Classical Dictionary . 3d ed., rev. New York: Oxford University Press, 2003.

Trendall, A. D. Phlyax Vases . 2d ed., rev. and enl. London: University of London, Institute of Classical Studies, 1967.

Trendall, A. D., and T. B. L. Webster. Illustrations of Greek Drama . London: Phaidon, 1971.

Additional Essays by Colette Hemingway

• Hemingway, Colette. “ Art of the Hellenistic Age and the Hellenistic Tradition .” (April 2007)
• Hemingway, Colette. “ Greek Hydriai (Water Jars) and Their Artistic Decoration .” (July 2007)
• Hemingway, Colette. “ Hellenistic Jewelry .” (April 2007)
• Hemingway, Colette. “ Intellectual Pursuits of the Hellenistic Age .” (April 2007)
• Hemingway, Colette. “ Mycenaean Civilization .” (October 2003)
• Hemingway, Colette. “ Retrospective Styles in Greek and Roman Sculpture .” (July 2007)
• Hemingway, Colette. “ Africans in Ancient Greek Art .” (January 2008)
• Hemingway, Colette. “ Ancient Greek Colonization and Trade and their Influence on Greek Art .” (July 2007)
• Hemingway, Colette. “ Architecture in Ancient Greece .” (October 2003)
• Hemingway, Colette. “ Greek Gods and Religious Practices .” (October 2003)
• Hemingway, Colette. “ The Art of Classical Greece (ca. 480–323 B.C.) .” (January 2008)
• Hemingway, Colette. “ The Labors of Herakles .” (January 2008)
• Hemingway, Colette. “ Athletics in Ancient Greece .” (October 2002)
• Hemingway, Colette. “ The Rise of Macedon and the Conquests of Alexander the Great .” (October 2004)
• Hemingway, Colette. “ The Technique of Bronze Statuary in Ancient Greece .” (October 2003)
• Hemingway, Colette. “ Women in Classical Greece .” (October 2004)
• Hemingway, Colette. “ Cyprus—Island of Copper .” (October 2004)
• Hemingway, Colette. “ Music in Ancient Greece .” (October 2001)
• Hemingway, Colette. “ Ernest Hemingway (1899–1961) and Art .” (October 2004)
• Hemingway, Colette. “ Etruscan Art .” (October 2004)
• Hemingway, Colette. “ Prehistoric Cypriot Art and Culture .” (October 2004)
• Hemingway, Colette. “ Sardis .” (October 2004)
• Hemingway, Colette. “ Medicine in Classical Antiquity .” (October 2004)
• Hemingway, Colette. “ Southern Italian Vase Painting .” (October 2004)
• Hemingway, Colette. “ The Kithara in Ancient Greece .” (October 2002)
• Hemingway, Colette. “ Minoan Crete .” (October 2002)

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List of Rulers

• List of Rulers of the Ancient Greek World
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Introduction to the Classical Greek Theater

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Journal of Modern Greek Studies

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This book is part of the Greece and Rome: Texts and Contexts series (eds. J. Morwood and E. Dugdale). Greek Theatre in Context offers a valuable guide to Greek theatre. It allows readers to learn about Greek theatre through direct engagement with the ancient evidence. It presents a broad selection of key ancient sources, both visual and literary, about all aspects of performance – including actors, masks, stage props and choral dancing – as well as scenes from the plays themselves that offer insights into their staging, plots, and reception. The dramatic brilliance of playwrights such as Sophocles, Aristophanes and Menander is brought to the fore by helpful commentary that provides a framework for the interpretation of Greek drama, fleshes out its cultural contexts, and invites students to consider a range of provocative questions.

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An introduction to... ancient Greek theatre

Seeing a Greek tragedy performed in English, let alone in the ancient Greek, may sound like hard work to many nowadays. But for the first audiences of plays like the Agamemnon, Medea and Bacchae , the theatre was the ancient equivalent of Hollywood – mass entertainment and big business. The early Greek comedies too, such as Aristophanes’ Frogs , had huge appeal, combining slapstick, literary parody (particularly of tragedy), not to mention a ‘Have-I-Got-News-For-You’ style treatment of politics and politicians.

The highlight of the dramatic calendar in the fifth century BC was the ‘City Dionysia’ held in Athens every year at the beginning of spring. This festival in honour of the god Dionysus lasted about a week, and over half of that time would be dedicated to back-to-back theatrical performances – up to seventeen plays over the course of four days. During that time audiences would be swept away by the rhetoric of heroes, would marvel at the coordinated dance and song of the choruses, have their sides split by the japery of comic actors and their aesthetic appetites indulged by the whole lavish spectacle.

The theatre in democratic Athens was a forum for exploring the most contentious of political issues. For the duration of the festival law courts would be closed, governmental and municipal business suspended and people who lived in the neighbouring rural townships would leave their agricultural tasks and flock to the city. The Athenian prisons would even release inmates for the duration of the festival so that they could attend the processions, plays and sacrifices.

In the days leading up to the festival, the whole city would be buzzing with excitement. Workmen brought in by the cartload would begin building the rows and rows of wooden benches on the southern slope of the Acropolis (there was no permanent theatre in Athens until the mid-fourth century). Merchants would trundle in from out of town to set up their stalls selling food, ‘sacred’ objects and other festival wares, while behind closed doors, boys and young men would be obsessively going over their words and walking through their steps in preparation for their performances. On stage in front of anything between six and twelve thousand spectators, there was nowhere to hide if you missed a beat.

The City Dionysia was also something of a PR exercise for the Athenians. They would be able to show off their dramatic prowess but the processions and ceremonies that preceded the performance days also honoured the bravery of their fallen soldiers, revelled in the splendour of the city’s buildings and publicly displayed their wealth. Visiting delegates from tribute-paying allied cities were given seats of honour in the theatre so that they might better observe the power of their ‘mother’ city.

Although the deaths of Sophocles and Euripides in 406 BC were felt keenly throughout Greece, theatre continued to grow and evolve.  If anything, theatre became more popular and, as it spread beyond Athens and rural Attica, was increasingly important for the Greek economy. In contrast to the somewhat ambiguous status of actors for much of history, actors in fourth-century Greece were well-respected artistes and celebrities, in demand and obscenely well paid. Long before Angelina Jolie ever became a Goodwill ambassador for the UN, actors like Neoptolemus and Aristodemus were performing the duties of ambassador and promoting peace between the warring nations of Athens and Macedon.

In a way lost to us now, going to the theatre in the ancient Greek world was a communal activity and one that was hard-wired into the social, political and religious rhythms of the ancient city. But for all the differences, we can still find those moments on the modern stage when the spirit of ancient theatre lives and long-dead poets speak once more.

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An Introduction To Greek Theatre

“World Theatre Day marks the occasion when the astonishing marriage of the singular and the plural, the objective and the subjective, the conscious and the unconscious will show the world the extraordinary creatures it has produced. Many of the discords in the world result from the estrangement of minds by the barrier of language: it is these discords and this barrier, which the huge and intricate mechanism of the theatre has set itself to overcome. Nations, thanks to these World Theatre Days, will at last become aware of each other’s treasures, and will work together in the high enterprise of peace.”

The Physical Theatre

As a young boy, Nirbhay had the annoying habit of waking up at 5 a.m. Since television was a big no-no, he had no choice but to read to entertain himself and that is how his love affair with books began. A true-blue Piscean, books paved the path to his fantasy worlds- worlds he’d often rather stay in. Nirbhay is the co-founder and publisher of The Curious Reader.

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Hippos: the horse in ancient Athens

Oliwia ullrich , university of münster. [email protected].

This bilingual volume of over 40 short essays in English and Greek was prepared in conjunction with the exhibition “HIPPOS. The horse in ancient Athens” at the American School of Classical Studies in Athens from January 20 th – April 30 th , 2022. The occasion for the exhibition was the discovery of horse burials in the Phaleron cemetery, excavated by Stella Chryssoulaki from 2012–2020 and the zooarchaeological examination of the horse skeletons by Flint Dibble at the Malcom H. Wiener Laboratory for Archaeological Science at the American School, which is the first part of the book.

In addition to representing the excavation results, the overall aim of this volume is to demonstrate the different aspects of horses affecting daily life within the ancient city of Athens. A variety of artifacts in the exhibit, ranging from large bronze heads and reliefs to pottery and coins, displayed horses in different meanings and contexts. For the exhibition, as well for the publication, the role of the horse on these artifacts has been presented and categorized into four topics: horse-training by young aristocrats, sporting events, cavalry, and religion.

Each section of this book is introduced with an opening picture of vitrines from the exhibition, but this is not an exhibition catalogue. No catalogue or checklist of objects is provided, and there are no exhibit numbers, which makes it difficult for researchers to make references to this book. In fact, it is hard to tell from the opening pictures whether all the objects from the exhibits were presented in this volume. The information about the objects appears only in the captions to the large high-quality illustrations, with different close ups in the English and Greek versions of the essays.

Most essay headings are phrased as questions, which replicates the experience of reading an exhibition text. Each essay deals thematically with one or two exhibits and includes references and recommended reading at the end. In general, footnotes are not provided. Occasionally there are references in the text to further inventory numbers from the National Archaeological Museum in Athens (p.174) or epigraphical references (p. 180).

Even though the essays and exhibits have been divided into various topics, each essay stands on its own. Dealing with various topics about horses does not make a coherent book, although the reader gains a quick overview and general understanding of the cultural significance of the horse in ancient Athens. A general bibliography about horses and horsemanship in Greece and Athens from the last decade is found on p. 280, but for specific recommendations for each topic the reader must consult the individual essays. The usual form of an exhibition catalogue would have made this more accessible for further research. Nevertheless, this volume contains an impressive summary of the role of horses in ancient Athens. [1]

Due to the abundance of exhibits and subjects, this review focuses on the first part of the book, “Horse Skeletons,” written by Stella Chrysoulaki and Ioannis Pappas and discusses the new finds and their archaeozoological examination. In the area of the Phaleron Delta, an area 4 km outside the city centre of Athens and close to the coast, almost 2,000 human burials and 15 horse skeletons were discovered.

These horses occupy a large area of the burial ground and were not interred in such a way to save space. Some of them were positioned “with very bent legs, some with slightly bent legs, some with bent and intertwined legs, some with bent front legs and extended back legs, whole in others it is difficult to understand the position of the horse because not enough of its bone survive” (p. 35). The legs were bent carefully to different degrees, which could indicate their gait, either galloping or trotting. The horses were buried without any grave goods. Human burials were located around the horses, but at different layers and without correlation to the horses. Many vases with horse motifs were found from child burials in the cemetery as well, which shows the importance of horses on symbolic levels as well.

Horse burials with similar leg positions from the 6 th century have been found over the course of the last twenty years elsewhere in Greece. In the coastal cemetery of Akanthos in Chalkidiki, equine and dog burials have been found, although without any grave goods, which makes them difficult to associate with the human burials. In Sindos, near Thessaloniki, horse burials have been discovered in a variety of positions; some pots were found around the horse and have been associated with a funeral ritual. Equine burials have also been found at Abdera and one on Chios. This leads to the conclusion that the horse burials in Athens are part of this common funerary practice.

The effort of burying these horses indicates that aristocrats showed their admiration for their horses and their (potential) achievements by giving them honourable burials. The way the horses were laid to rest, might emphasize an aspect of a funerary ritual. In ancient Greek iconography, i.e., the Panathenaic Prize Amphoras, individual gaits were carefully depicted to honour and document the riders’ and horses’ accomplishments. These horse burials are located next to human burials rather than being confined to restricted areas. A detailed bibliography is given at the end of the Greek version of this essay (p. 49). [2]

To understand this burial practice further, Flint Dibble summarizes the examination of the horse skeletons (p. 50-55). The leg bones revealed that the horses were quite small, measuring from 1.27 to 1.40 (12.5 hands to 14 hands) at the withers, which would be now classed as ponies. The examination of the teeth indicate that all these horses died at a young age (mostly 5-6 years, the youngest was 3.5 years). On the bones, cuts were visible on the right shoulder blade and the left thigh. These cuts were made after death to position the bodies for burial (p. 50–51), which would confirm the assumption of a funerary burial ritual. The buried horses did not have broken bones which would have been a very serious injury, likely leading to their deaths, and they had “not been ridden or otherwise worked for very long” (p. 52). Therefore, the author suggests that these young horses were sacrificed although they were of great value to the owner.

Jeffrey Banks (p. 261–266) summarizes further zoological evidence, which indicates that horses were sacrificed not in cemeteries, but in sanctuaries in Thasos, Ephesus, Troy, Messene and Kalapodi. But horse flesh was considered as marginal food, at times and places even a cultural taboo. There are literary sources about sacrificing horses by drowning or casting them into a body of water or burning them. The sacrifice of horses were very exceptional occasions because of their high value and utility in Greece (p. 261–263).

But the lack of evidence for trauma or wear on the bones of the Phaleron horses does not necessarily rule out the death of these horses in the context of racing. Horses, as they are today, were used for racing from the age of two. This early start carries the risk of fatal injury mostly due to stomach ulcers, bleeding into the lungs, or ripping of the aorta caused by stress. These and various other factors (like extreme heat in the summertime for example) can cause an early death without leaving any traces on the bones. Analysis of the bones regarding structural properties and overall physical appearance constitutes an indispensable premise for the interpretation of these burials. However, for a more thorough interpretation, analysis of the physical and mental composition of young horses used in competitions is necessary.

Authors and Titles

FOREWORD & Acknowledgements

INTRODUCTION TO HIPPOS

PART 1- HORSE SKELETONS

Jenifer Neils, Where did Greek horses come from?… p. 29

Stella Chrysoulaki, Ioannis Pappas, About Horses at the Phaleron Delta… p. 33

Flint Dibble, What does science tell us about the Phaleron horses?… p. 50

PART 2- HIPPOTROPHIA

Introduction

Jenifer Neils, What is the first horse in Athenian art?

Rebecca A. Salem, Why do horses serve as handles on Geometric pyxides?

Will Austin, Peter Thompson, What was the meaning of Horse-Head amphoras?

Anne McCabe, Who was the first Greek to write a book about horses?

Carol C. Mattusch, What Xenophon tell us about horses?

Jenifer Neils, Tack, or what you need to ride a horse

Kevin S. Lee, How were the Athenian youth involved in the hippic culture?

Joe Miller, What were common horse names?

Paul G. Johnston, What humans had names with Hippo-/-ippos in them and what does this mean?

Sarah M. Norvell, Why do early Attic coins have equine imagery?

Elena Walter-Karydi, A Warrior’s departure

PART 3 – RACE HORSE

Anna Belza, What constitutes an ancient chariot and how was it used?

Emmanuel Aprilakis, Who were the Athenian victors in competitive horse racing?

Jenifer Neils, Some unusual hippic events at the Panathenaia

Jenifer Neils, What was the aprobates race?

Alan Shapiro, After the race: an historic chariot

Olga Palagia, A victorious horse

PART 4 – WAR HORSE

John McK. Camp, Horses and Athenian Archaeology

Alessandria Migliara, Joseph Miller, What do Attic cavalry inscriptions tell us?

Will Austin, Peter Thompson, What do we know about Athenian archers on horseback?

Amanda Ball, Why do Athenian horsemen wear Thracian dress?

Jenifer Neils, What was the role of the squire?

Jenifer Neils, The cavalry inspection

Olga Palagia, Cavalry battles beyond Dexileos

Olga Palagia, A cavalryman as hero

Mara McNiff, Bronze equestrian statues and the Medici-Ricardi horse head

PART 5 – RELIGION

Erin Lawrence-Roseman, Who was Athena Hippia?

Shannon M. Dunn, Who was Poseidon Hippios?

Shannon M. Dunn, Who was Hippothoon?

Luke Madson, What was the role of the Dioscuri in Athens?

Rush Rem, Did horses perform in Athenian theater?

Rebecca Levitan, Why are horse heads featured on hero reliefs?

Jeffrey Banks, Were horses sacrificed in ancient Greece?

Jenifer Neils, Why do so many horses decorate the Parthenon?

Tyler Jo Smith, Monkey business

BIBLIOGRAPHY

CONTRIBUTORS

[1] The exhibit was accompanied by a website , with high-resolution close-ups of the exhibits such as a 3D model of the 4 th century BCE Medici-Riccardi bronze horse head. Lectures associated with the exhibit are also online.

[2] Another introduction to the excavations at Phaleron: S. Chryssoulaki, The excavations at Phaleron cemetery 2012–2017: An introduction. In: Rethinking Athens before Persian Wars: proceedings of the international workship at the Ludwigs-Maximilians-Universität München (Munich, 23 rd –24 th February 2017) (München 2019), 103–114.

theatre history presentation rubric

THEATRE HISTORY PRESENTATION GRADING RUBRIC Objective: You will be creating a Google Slides presentation highlighting the history of theater. You will be using what you have learned in UNIT 2: Ancient and Greek Theatre, as well as the researching topics on the internet to help you complete this project. This is a benchmark and will count as a unit test grade.

Students will provide information on their era in theatre history in a creative presentation. The Power Point will contain a minimum of 6 slides, containing information relevant to their era in theatre history. It should be colorful, creative, and interesting.. Free rubric builder and assessment tools.

iRubric E98622: Rubric title Theatre History Project Presentation. Built by julianj using iRubric.com. Free rubric builder and assessment tools.

Rubric possible points is 0. --->Built by kblackweible using iRubric.com. Free rubric builder and assessment tools. iRubric: Theatre History Project Presentation rubric - S54673: RCampus

Lyceum Theatre. The Brick. Synthesis and Presentation. Synthesize the information you gathered from in-person site visits, archival and secondary source research, and GIS modeling. 1) Read the mission statement of your theatre company and discuss how the audience/stage arrangement and the entire building support that mission statement.

A presentation of the A. James Clark ... Theatre as a History Teaching Tool" The History Teacher. Vol. , No. (Aug., 1999), pp. 525-545 Available through the National Archives and Records Administration: ... Readers Theater Rubric . A presentation of the A. James Clark

CRITICAL EVALUATION/RESEARCH WRITING RUBRIC 4 - Excellent 3 - Very Good 2 - Satisfactory 1 - Needs Improvement Score 1. Prompt Requirement Exceeds requirements of prompt Meets requirements of assignment or

THEATRE HISTORY PRESENTATION OF ERAS & STYLES Aim To look at the eras of theatre history using a multimedia approach Grade Grade 8TH Research Materials web sites, internet, research materials from libraries, notes from class (Lincoln City or Mickle) Time Time Three days of drama class will be devoted to notes and computer time If additional time is needed - it is to be done at home, before ...

In groups of 2 - 3, students will choose an era if theatre history, (attached are suggested eras - one era per grouping). Research paper (5 - 7 pages), 12 point font, including citations/bibliography. *Each student in the group will choose the topics they are to be responsible for (a list of required topics are attached).

This guide provides resources for the Research Presentation External Assessment task for IB Theatre (first assessment 2024). On this page, see: IB Resources - Handouts and assessment rubric. World Theatre Traditions Gallery. At-a-Glance: Research Presentation. For help with choosing and researching a world theatre tradition, see:

iRubric MX95AA8: Use the project information listed in your journal and on this rubric to present a information on theatre and performance in the country of your choice. You may do a poster, trifold, brochure, Slides ( Google, Prezi, Powerpoint) or Video.. Free rubric builder and assessment tools.

IB Theatre SL & HL - RESEARCH PRESENTATION. Criterion A: Theatre in Context: The tradition. To what extent does the student explain a world theatre tradition (chosen from the prescribed list) demonstrating an understanding of the tradition and its cultural and/or theoretical context(s), effectively supporting their work with a range of ...

Search for performing arts and theatre assessment rubrics for K-12 schools or MAEIA performance standards. ... ART.T.IV.8.1 ART.T.IV.8.1 - Demonstrate a basic knowledge of American theatre history that may include the study of African, Asian, Native and ... Pr6 - Convey meaning through the presentation of artistic work. Approx. five 50 min ...

Present in first person, and be as specific as you possibly can when explaining your findings.Images and practical demonstrations help enormously here. You should approach your presentation as an educated theatre-maker who is introducing a new theatre tradition/style to fellow, knowledgeable theatre professionals. So supporting your information with reliable sources, and practicing your ...

Students seem uninterested or not invested in learning about theatre history. Look no further than this 3 to 4 week Theatre History Unit! This unit give you the flexibility to complete it in 3 standard weeks or use the 4 week enhanced version to dig even deeper into theatre history with your students. In this unit, you will guide your students ...

Here, in the political heart of Russia, lies Moscow's cultural heart - the Bolshoi Theatre. Verdi's Don Carlo echoes through its open atriums, and the reverberations of ballet dancers' feet can be felt through the rehearsal room's floor. This is a building steeped in history, indeed, it is a building that has withstood almost everything ...

iRubric N243A52: Students were in groups and given a period of theatre history to research and teach to the class.. Free rubric builder and assessment tools. iRubric: Theatre History Project Presentation rubric - N243A52

Readers Theatre is a fun, interactive way to help students improve their reading fluency and oral speaking skills. Readers Theatre also gives students a chance to work cooperatively in groups and helps build their confidence, especially for reluctant readers. This rubric assesses students both individually in two major areas, delivery and ...

1776. The date 28th of March is considered the founding day of the Moscow Bolshoi Theatre. In 1777, the companions bought the house of Prince Lobanov-Rostovsky, located on Petrovka Street, in order to erect a new theatre building in its place. The opera house on Znamenka Street, where performances were given earlier, burned down in 1780 Prince ...

iRubric W937X5: Students will work in pairs or small groups and research a period of theatre history. Free rubric builder and assessment tools. iRubric: Theatre History Project Presentation rubric - W937X5: RCampus

On 28 March 1776, Empress Catherine II signed and granted the Prince the 'privilege' of organizing theatre performances, masquerades, balls and other forms of entertainment for a period of ten years. It is from this date that Moscow's Bolshoi Theatre traces its history. At first, the Bolshoi Theatre's Opera and Dramatic Troupes formed a single ...

The reconstruction and refurbishment of the Bolshoi Theatre Historic stage (2 July 2015 - was a colossal, world-level project. The Theatre building has long been seen as one of Russia's symbols. The Theatre's rehabilitation, therefore, came under constant scrutiny from state authorities and public alike.

Rubric possible points is 215. --->Built by ngibbs using iRubric.com. Free rubric builder and assessment tools. iRubric: Theatre History Project Presentation rubric - GX95A75: RCampus

Greek American Experience

Global hellenic culture.

Off the Beaten Trail: the Moscow Metro

References:

• ( http://www.boredpanda.com/moscow-metro-station-architecture-russia-bright-future-david-burdeny/ )

https://goo.gl/photos/TWKc599ai6SunNSu7 – photo album

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• DMITRY KORCHAK Playlist 57 great video clips

FULL DMITRY KORCHAK Playlist 57 great video clips

Information on the Performance

• Work Title: DMITRY KORCHAK Playlist   
• Composer: various   
• Libretto: various     Libretto Text, Libretto Index
• Venue & Opera Company: various  
• Recorded: various
• Type: Staged Opera Live
• Singers: Dmitry Korchak
• Conductor: various   
• Orchestra: various  
• Stage Director:   
• Costume Designer:   

Information about the Recording

• Published by: OoV   
• Date Published: 2023   
• Format: Streaming
• Quality Video: 3 Audio: 3
• Subtitles: nosubs   
• Video Recording from: YouTube      FULL VIDEO

ADDITIONAL INFORMATION ON THIS PERFORMANCE

Dmitry Korchak (born February 19, 1979 in Elektrostal/Moscow Oblast) is a Russian tenor and conductor.

Korchak received his musical education at the Moscow Choral Academy. In 2004 he won prizes at the “Francisco Viñas” International Singing Competition in Barcelona and at the Plácido Domingo Operalia International Competition in Los Angeles.

As a singer he has appeared at La Scala in Milan, the Vienna State Opera, the Berlin State Opera Unter den Linden, the Paris Opera Bastille, London’s Covent Garden and New York’s Carnegie Hall. He has collaborated with artists such as Daniel Barenboim, Riccardo Chailly, Plácido Domingo, Lorin Maazel, Zubin Mehta and Kent Nagano.

From 2017 to 2020, Dmitry Korchak was Principal Guest Conductor at the Novosibirsk Academic Opera and Ballet Theater, where he directed his own festival, and Guest Conductor at the Mikhailovsky Theater in Saint Petersburg.

Korchak has made several guest appearances at the Kissinger Sommer, the Salzburg Festival and the Rossini Festival in Pesaro, where he also worked as a conductor. Korchak also worked with the Bavarian Radio Orchestra and the Chicago Symphony Orchestra, among others.

Comment ( 1 )

Thank you for this, he’s brilliant!

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