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TH (S14)-Class 7

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by

Sergio Costola

on 5 February 2014

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Transcript of TH (S14)-Class 7

The Learned Comedy and Tragedy: the commedia erudita
(Classical Tradition)

The Commedia dell’Arte
(Panoramic Tradition)
Italian Renaissance Theatre
Rediscovery of ancient cultures
The individual (Humanism)
Geographical discoveries
Gunpowder
Gutenberg’s printing process
RENAISSANCE
Why in Italy?
Trade routes, Byzantium, Ottoman Empire, Church, Commercial capitalism (patronage)
ECONOMY & SOCIETY
The affirmation of a commercial capitalism
The geographical discoveries and the decline of the Mediterranean
The appearance of a new social class and its repercussion for the arts
Economy
Politics
The birth of the modern states
Louis XIV (1461-1483)
Ferdinand of Aragon (1479-1516)
Henry VII (1485-1509)
The Case of Italy and the Church
Maps
800
1200
1300
1400
1500
1600
Religion
Martin Luther (1483-1546)
Ninety-Five Theses in 1517
Council of Trent (1545-1563)
Thirty-Year War (1618-1648)
Culture
Auctoritas and Auctoritates
Man at the center (Humanism)
Re-discovery of Ancient Cultures
Aristotle
Plato
Christianity
Philology
Discoveries and Inventions
1 AD
How do we read a play?
How do we read a play?
Intuitive response
+
Contextual Analysis
+
Formalist Analysis
Matthias Grünewald (1512-1516)
Piero di Cosimo
(16th century)
Salvador Dalí
Form
Content
Meaning
Christ's painful death
Christ's conquest of death
Christ's ambiguous sacrifice
What's a Source?
http://libguides.southwestern.edu/content.php?pid=124854&sid=1082407
Decorum
The poets should follow the established paths in such matters as
Choice of subject
Vocabulary
Verse forms
Character types

Appropriateness
A character should behave appropriately, according to his/her sex, age, social status, and emotional state (actor)

Purpose of drama
Teach and delight


Comedy and tragedy should never be combined
A play should have 5 acts

Aristotle & Horace

Verisimilitude (appearing to be true or real)
Particular
General
Universal

3 Unities
Time
Place
Action

No gods on stage
No violence on stage
No chorus



Neoclassicism
Full transcript