The Greek concept of beauty was based on a pleasing balance and proportion of form.
Theatre of ancient Rome Western theatre developed and expanded considerably under the Romans. The Roman historian Livy wrote that the Romans first experienced theatre in the 4th century BC, with a performance by Etruscan actors.
Although Rome had a native tradition of performance, the Hellenization of Roman culture in the 3rd century BC had a profound and energizing effect on Roman theatre and encouraged the development of Latin literature of the highest quality for the stage.
While both dramatists composed in both genresAndronicus was most appreciated for his tragedies and Naevius for his comedies; their successors tended to specialise Athenian artistic performances a form of propaganda one or the other, which led to a separation of the subsequent development of each type of drama.
Medieval theatre As the Western Roman Empire fell into decay through the 4th and 5th centuries, the seat of Roman power shifted to Constantinople and the Eastern Roman Empiretoday called the Byzantine Empire.
While surviving evidence about Byzantine theatre is slight, existing records show that mimepantomimescenes or recitations from tragedies and comediesdancesand other entertainments were very popular.
Constantinople had two theatres that were in use as late as the 5th century. From the 5th century, Western Europe was plunged into a period of general disorder that lasted with a brief period of stability under the Carolingian Empire in the 9th century until the 10th century.
As such, most organized theatrical activities disappeared in Western Europe. While it seems that small nomadic bands traveled around Europe throughout the period, performing wherever they could find an audience, there is no evidence that they produced anything but crude scenes.
By the Early Middle Ageschurches in Europe began staging dramatized versions of particular biblical events on specific days of the year. These dramatizations were included in order to vivify annual celebrations. These were extensive sets of visual signs that could be used to communicate with a largely illiterate audience.
These performances developed into liturgical dramasthe earliest of which is the Whom do you Seek Quem-Quaeritis Easter trope, dating from ca. These six plays — Abraham, Callimachus, Dulcitius, Gallicanus, Paphnutius, and Sapientia — are the first known plays composed by a female dramatist and the first identifiable Western dramatic works of the post-classical era.
Hrosvitha was followed by Hildegard of Bingen d. High and late Medieval theatre, —[ edit ] Main article: Medieval theatre As the Viking invasions ceased in the middle of the 11th century, liturgical drama had spread from Russia to Scandinavia to Italy.
Only in Muslim-occupied Spain were liturgical dramas not presented at all. Despite the large number of liturgical dramas that have survived from the period, many churches would have only performed one or two per year and a larger number never performed any at all.
The festival inverted the status of the lesser clergy and allowed them to ridicule their superiors and the routine of church life. Sometimes plays were staged as part of the occasion and a certain amount of burlesque and comedy crept into these performances.
Although comic episodes had to truly wait until the separation of drama from the liturgy, the Feast of Fools undoubtedly had a profound effect on the development of comedy in both religious and secular plays. The Mystery of Adam gives credence to this theory as its detailed stage direction suggest that it was staged outdoors.
The importance of the High Middle Ages in the development of theatre was the economic and political changes that led to the formation of guilds and the growth of towns.
This would lead to significant changes in the Late Middle Ages. In the British Islesplays were produced in some different towns during the Middle Ages. These vernacular Mystery plays were written in cycles of a large number of plays: York 48 playsChester 24Wakefield 32 and Unknown A larger number of plays survive from France and Germany in this period and some type of religious dramas were performed in nearly every European country in the Late Middle Ages.
Many of these plays contained comedydevilsvillains and clowns. For example, at Valenciennes inmore than roles were assigned to 72 actors.
Often providing their own costumes, amateur performers in England were exclusively male, but other countries had female performers. The platform stage, which was an unidentified space and not a specific locale, allowed for abrupt changes in location.
Morality plays emerged as a distinct dramatic form around and flourished until The most interesting morality play is The Castle of Perseverance which depicts mankind 's progress from birth to death. However, the most famous morality play and perhaps best known medieval drama is Everyman.One of the great examples of art used for propaganda is Julius Caesar’s Commentaries on the war in Gaul.
Although most Roman intellectuals wrote in Greek, Caesar chose Latin because he was. Judith M. Lamb Prof. Christina Salowey December 12, Art as Propaganda in Ancient Greece: The Feeding of the Greek Soldier’s Ego The stories of an all-female warrior race had long been told and depicted in artistic forms.
The theatre of ancient Rome was a thriving and diverse art form, ranging from festival performances of street theatre, nude dancing, and acrobatics, to the staging of Plautus's broadly appealing situation comedies, to the high-style, verbally elaborate tragedies of Seneca.
The Greek concept of beauty was based on a pleasing balance and proportion of form. The design of graceful columned Greek temples has influenced architecture from the Renaissance to modern times.
Greek sculpture established an ideal standard for the human form that served as a . Athenian Artistic Performances Were They a Form of Propaganda send me this sample Leave your email and we will send you an example after 24 hours Performances took place during a five-day religious festival called the Dionysia, named after the god of wine, associated with the loosening of tongues.