History[ edit ] In the history of theatre, there is long tradition of performances addressing issues of current events, especially those central to society itself. The political satire performed by the comic poets at the theatres had considerable influence on public opinion in the Athenian democracy. Shakespeare is an author of political theatre according to some academic scholars, who observe that his history plays examine the machinations of personal drives and passions determining political activity and that many of the tragedies such as King Lear and Macbeth dramatize political leadership and complexity subterfuges of human beings driven by the lust for power.
More on This Story: History of Political Theater The stage has forever been a place where political issues have been examined. The ritualistic and social significance of the earliest Greek performances in central arenas brought relevance to many controversial topics, a pattern that has not subsided to this day.
According to Wikipedia, "Political theater is drama or performing art which emphasizes a political issue or issues in its theme or plot Political theater can also be defined as exploring themes more universal and central to society itself, especially when that society defines itself as politically conscious.
His plays are an unequaled source of information about politics, personalities, morality, literature, and everyday life in Athens. In the plays of Aristophanes the whole panorama of Greek society passes before us, each phase touched with the poet's inexhaustible humor.
The proceedings of the law courts are continually before us, and we are familiar with the ways of the smooth-tongued advocates and the insolence of lawyer-youths Called by Bates the "spokesman of the peace party," four of his plays are passionate calls for peace. Shakespeare is fascinated by politics, charting the world of secular power with an avid curiosity, showing a very highly developed sense of the workings of bureaucracy and power.
No one who has brushed against the world of realpolitik in any government of any colour could fail to recognise Polonius, and Elsinore will be immediately identifiable to anyone who visited or lived in Eastern Europe under Communism.
The world of bugged hotel rooms, the ever-present secret police, the smug strutting arrogance of the Party's apparatchiks, the friends who lower their voices and look about them before speaking, the fear of prison, the familiarity with those who have experienced it, the swaggering display of the privileges of the nomenklatura, these all belong to the world that Hamlet finds so 'out of joint.
Bloom considers Shakespeare as a profoundly political Renaissance dramatist and argues that Shakespeare's ideas and beliefs need to be recognized in today's society as a source for the serious study of moral and political problems.
He sought to stimulate the minds of his audience, integrating economics and politics into his plays, in hopes that those watching would respond with intellect, not emotion. As Eyre and Wright describe him, "He was a brilliant man of the theatre, highly receptive to the avant-garde of his day, quick to improve it and somewhat too precipitate to turn it into theory.
He was a communist: From his twenties onwards, he thought and worked in terms of Marxist dialectic and he really wasn't kidding. To create a distancing effect, Brecht promoted acting and staging that would merely demonstrate what was being portrayed, thus giving the audience a more objective perspective on the action.
In Brecht's plays, say Eyre and Wright, "lucidity reigns: Throughout the s and 70s, Brecht was revered by left-leaning theatricals as a sage whose slightest jottings could be relied on as a guide to morality, politics and life itself. In the s the collapse of faith in Marxism put a stop to that.
But although his Mao-like status hasn't lasted, his plays or some of them have quietly entered the theatrical mainstream. Whether they've entered as what they are, or in disguise, is harder to say.
Some productions get praised for following his thinking to the hilt, others get praised for throwing his boring theories out of the window. Sometimes both are said of the same production. Created in by the New Deal government to provide work for unemployed artists, writers and theater professionals, the FTP was administered by the Works Progress Administration.
Over thirteen thousand Americans were employed by its productions, including hundred of African-Americans who were employed in special "Negro Units. The Federal Theater Project became the most visible symbol of what some called New Deal extravagance and came under attack from New Deal foes.
In one of the first in a long line of hearing about politics and arts, The House Un-American Activities Committee under the direction of Senator Martin Dies, began combative hearings about the FTP, looking into the "extent, character, and objects of un-American propaganda activities in the United States.
· Musical Theatre: A Forum for Political Expression Boyd Frank Richards University of Tennessee - Knoxville Social problems go beyond frontiers." The novel spoke of the same year when it was transferred to the West End's Palace caninariojana.com?article=&context=utk.
· History of Political Theater.
The stage has forever been a place where political issues have been examined. The ritualistic and social significance of the earliest Greek performances in central caninariojana.com · character and political acumen.
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