The standard Greek civilization was responsible for the origin of Theater and evolving arts for the reason that field. One of the most prominent play writers of the time was Aristophanes who was regarded as being the best comic dramatist of his times. All his plays revolved around issues like morality, politics, coupled with an abundance of literature. His storyline dealt with the everyday life of the people of Athens. Following your Peloponnesian War Aristophanes was so deeply effected by the bloodshed of his fellow beings, which he wrote four plays revolving around it. Among the plays "Lysistrata" was the most prominent work of most, which was aimed to bring peace and harmony in the society but with a light note.
As soon as the World War II the whole world was shattered and inhabitants worldwide baldy needed something that would relieve their mind of all of the massive destruction and bloodshed. Everyone was so desperate to drift in the harsh reality that some sect of people nicknamed as "Absurdists" gave birth to a different genre of theater called the Theater of the Absurd. This term was brought into existence by Martin Esslin to mention the new kind of plays sprouting in Europe and America. The objective of such plays was to deviate peoples' mind, although the storyline had some preposterous elements baked into it. Some of the common "Absurdists" were Eug?ne Lonesco, Samuel Beckett, Jean Genet and Harold Pinter. Later on this kind of thinking lead to the progression of Philosophy of existentialism according to which more emphasis is paid to individual existence and total freedom. But this philosophy has much wider spectrum and cannot be described in few words.
Meta theaters are that classification of theaters, which blurred the space between the actors and the audience. The actors truly must be the dynamic part of the play though the onlookers, too, are expected to be participating in the proceedings with the play. Schemes are developed on the spur of the moment so its don't vivid to the audience what is actual part of the storyline and what patches are already added. This practice was developed during the Elizabethan Era, which is typically known as the Renaissance Period and it's also still popular in the modern times.
Richard Wagner was the brainchild behind the Theaters generally known as Gasamtkuntswerk or more commonly referred to as Total Artwork. These brands of theaters are recognized to have all the flavoring elements that you can think of within its radius. Drama, music, dances and Greek Theater extract work in harmony to bring out the essence in the story being enacted. Steven Berkoff took this concept a step further by introducing actors who could possibly be characters and presented depending on the theme at different times. Props were also utilized to bring in more realism. With all these elements sometimes the plays reached a level of superficiality and exaggeration.
Jerzy Grotowski gave rise to a new type of Theater, which was targeted, for individuals of the lower sectors with the society. In Poland, while working together with his troupe, Jerzy recognized the needs of the indegent people there and understood their lack of ability to shell out money for big theaters. These concepts got popular especially through the 1960s' and 70s'. In such theaters there wasn't another stage of performing rather the artists and the audience occupied the identical space. Since rich people didn't finance these theaters there was clearly a lack of props, detailed costumes, adequate lightning proper sets, and also other technical features. The performers were outstanding and vivid in an attempt to overcome the lack of good costumes. The actors were designed to go through rigorous training involving months of practicing and rehearsing. Physical workout was also a part of it. Many acting troupes and aspiring actors pass this method to gain popularity the simpler way. Grand Guignol is coined through the Theatre du Grand Guignol of Paris, France, is a kind of theater class, which encompasses a lot of gruesome violence. This term is used till date to refer to bloodshed melodramas.
As soon as the World War II the whole world was shattered and inhabitants worldwide baldy needed something that would relieve their mind of all of the massive destruction and bloodshed. Everyone was so desperate to drift in the harsh reality that some sect of people nicknamed as "Absurdists" gave birth to a different genre of theater called the Theater of the Absurd. This term was brought into existence by Martin Esslin to mention the new kind of plays sprouting in Europe and America. The objective of such plays was to deviate peoples' mind, although the storyline had some preposterous elements baked into it. Some of the common "Absurdists" were Eug?ne Lonesco, Samuel Beckett, Jean Genet and Harold Pinter. Later on this kind of thinking lead to the progression of Philosophy of existentialism according to which more emphasis is paid to individual existence and total freedom. But this philosophy has much wider spectrum and cannot be described in few words.
Meta theaters are that classification of theaters, which blurred the space between the actors and the audience. The actors truly must be the dynamic part of the play though the onlookers, too, are expected to be participating in the proceedings with the play. Schemes are developed on the spur of the moment so its don't vivid to the audience what is actual part of the storyline and what patches are already added. This practice was developed during the Elizabethan Era, which is typically known as the Renaissance Period and it's also still popular in the modern times.
Richard Wagner was the brainchild behind the Theaters generally known as Gasamtkuntswerk or more commonly referred to as Total Artwork. These brands of theaters are recognized to have all the flavoring elements that you can think of within its radius. Drama, music, dances and Greek Theater extract work in harmony to bring out the essence in the story being enacted. Steven Berkoff took this concept a step further by introducing actors who could possibly be characters and presented depending on the theme at different times. Props were also utilized to bring in more realism. With all these elements sometimes the plays reached a level of superficiality and exaggeration.
Jerzy Grotowski gave rise to a new type of Theater, which was targeted, for individuals of the lower sectors with the society. In Poland, while working together with his troupe, Jerzy recognized the needs of the indegent people there and understood their lack of ability to shell out money for big theaters. These concepts got popular especially through the 1960s' and 70s'. In such theaters there wasn't another stage of performing rather the artists and the audience occupied the identical space. Since rich people didn't finance these theaters there was clearly a lack of props, detailed costumes, adequate lightning proper sets, and also other technical features. The performers were outstanding and vivid in an attempt to overcome the lack of good costumes. The actors were designed to go through rigorous training involving months of practicing and rehearsing. Physical workout was also a part of it. Many acting troupes and aspiring actors pass this method to gain popularity the simpler way. Grand Guignol is coined through the Theatre du Grand Guignol of Paris, France, is a kind of theater class, which encompasses a lot of gruesome violence. This term is used till date to refer to bloodshed melodramas.
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