Tuesday, September 06, 2005

History is the interest.

Subject: One of the only new things that I learned was about the history of theatre.


In meditation on the first ninety pages of this greatly expensive theatre arts book I was very bored. Honestly I felt that most of what was said I knew already. Much of the material was common sense. Though some of the figures, dates, and statistics were interesting, it took me three sessions to read all of the way through it. I felt that some of the examples were beneficial and I felt that sections of the first three chapters were good. Much of the section, however, I felt repeated itself. I feel that most of the sections could have been summed up in a few sentences rather than a few pages. I also feel that most of the information we have already gone over as a class in classroom discussion. In meditation, I hope that the next section of reading that we have to do is more interesting.
It may sound as though I hated the reading. On the contrary, I enjoyed some of it. The sections that were interesting were those that spoke about the history of the theatre in Greece, and Rome and all of the things that had to be dealt with. I also enjoyed learning that the Christians banned theatre all together, this was an interesting fact. I was intrigued to find out that the Christians felt that theatre was evil and then turned around and used it for their own purposes. It sounds hypocritical doesn’t it?
Michael

1 Comments:

At 3:57 PM, Blogger Kirk Andrew Everist said...

Perhaps one of the most effective uses for our textbook (The Theatrical Imagination, by Huberman, Ludwig, & Pope) is as a reference point. The authors spend much time defining their terms in grinding detail. While some of their nomenclature and analysis is debateable (and, as I point out in a post, some of it is downright misleading), at least they provide a common point of departure for our own conversation.

The antagonism between early Christianity and classical theatre is fascinating; just as fascinating is the subject of how ritual and theatre overlap, and how this overlap manifested in medieval theatre. If the same bishops who had denounced Roman theatres turned around and produced plays themselves, I think hypocrisy would be a valid charge; but keep in mind that at least 400 years passed between the outlawing of theatres (as much a political move as a religious statement) and the re-emergence of theatrical techniques in the high middle ages.

 

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