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21L.005 Introduction to Drama (MIT) 21L.005 Introduction to Drama (MIT)
Description
Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings. Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings.Subjects
Drama | Drama | literary arts | literary arts | storytelling | storytelling | poetry | poetry | live performance | live performance | ritual | ritual | entertainment | entertainment | communities | communities | social norms | social norms | audiences | audiences | plays | plays | dramatic structure | dramatic structure | performing arts | performing arts | writing | writing | discussion | discussion | writer | writer | speaker | speaker | cultures | cultures | tools | tools | fiction | fiction | ethical | ethical | historical | historical | political | political | artistic | artistic | questions | questions | creativity | creativity | self-awareness | self-awareness | communicate | communicate | theater | theater | outdoor public theatres | outdoor public theatres | scaena frons | scaena frons | many theatre artists | many theatre artists | violence onstage | violence onstage | neoclassical theatre | neoclassical theatre | neoclassical rules | neoclassical rules | medieval theatre | medieval theatre | environmental theatre | environmental theatre | departures from realism | departures from realism | significant playwrights | significant playwrights | first permanent theatre | first permanent theatre | theatre history | theatre history | theatre architecture | theatre architecture | selective realism | selective realism | neoclassical ideals | neoclassical ideals | autos sacramentales | autos sacramentales | formal theatre | formal theatre | tiring house | tiring house | realistic theatre | realistic theatre | scene design | scene design | staging practices | staging practices | female playwrights | female playwrights | crisis drama | crisis drama | symbolist drama | symbolist drama | dramatic rules | dramatic rules | theatrical semiosis | theatrical semiosis | theatrical competence | theatrical competence | deictic orientation | deictic orientation | proxemic relations | proxemic relations | theatre semiotics | theatre semiotics | theatrical communication | theatrical communication | dramatic information | dramatic information | dramatic discourse | dramatic discourse | theatrical sign | theatrical sign | theatrical discourse | theatrical discourse | theatrical frame | theatrical frame | dramatic world | dramatic world | dramatic text | dramatic text | perlocutionary effect | perlocutionary effect | theatrical text | theatrical text | performance text | performance textLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.005 Introduction to Drama (MIT) 21L.005 Introduction to Drama (MIT)
Description
Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings. Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings.Subjects
Drama | Drama | literary arts | literary arts | storytelling | storytelling | poetry | poetry | live performance | live performance | ritual | ritual | entertainment | entertainment | communities | communities | social norms | social norms | audiences | audiences | plays | plays | dramatic structure | dramatic structure | performing arts | performing arts | writing | writing | discussion | discussion | writer | writer | speaker | speaker | cultures | cultures | tools | tools | fiction | fiction | ethical | ethical | historical | historical | political | political | artistic | artistic | questions | questions | creativity | creativity | self-awareness | self-awareness | communicate | communicate | theater | theater | outdoor public theatres | outdoor public theatres | scaena frons | scaena frons | many theatre artists | many theatre artists | violence onstage | violence onstage | neoclassical theatre | neoclassical theatre | neoclassical rules | neoclassical rules | medieval theatre | medieval theatre | environmental theatre | environmental theatre | departures from realism | departures from realism | significant playwrights | significant playwrights | first permanent theatre | first permanent theatre | theatre history | theatre history | theatre architecture | theatre architecture | selective realism | selective realism | neoclassical ideals | neoclassical ideals | autos sacramentales | autos sacramentales | formal theatre | formal theatre | tiring house | tiring house | realistic theatre | realistic theatre | scene design | scene design | staging practices | staging practices | female playwrights | female playwrights | crisis drama | crisis drama | symbolist drama | symbolist drama | dramatic rules | dramatic rules | theatrical semiosis | theatrical semiosis | theatrical competence | theatrical competence | deictic orientation | deictic orientation | proxemic relations | proxemic relations | theatre semiotics | theatre semiotics | theatrical communication | theatrical communication | dramatic information | dramatic information | dramatic discourse | dramatic discourse | theatrical sign | theatrical sign | theatrical discourse | theatrical discourse | theatrical frame | theatrical frame | dramatic world | dramatic world | dramatic text | dramatic text | perlocutionary effect | perlocutionary effect | theatrical text | theatrical text | performance text | performance textLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htmSite sourced from
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Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course w Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course wSubjects
drama | drama | forbidden plays | forbidden plays | Modern America | Modern America | decision alley | decision alley | drama strategies | drama strategies | drama skills | drama skills | purchasing institution | purchasing institution | drama activity | drama activity | drama activities | drama activities | writing opportunity | writing opportunity | last wolf | last wolf | learning medium | learning medium | literacy activities | literacy activities | writing opportunities | writing opportunities | foundation stage | foundation stage | assessment focus | assessment focus | two long lines | two long lines | dramatic activity | dramatic activity | action conventions | action conventions | literary arts | literary arts | storytelling | storytelling | poetry | poetry | live performance | live performance | ritual | ritual | entertainment | entertainment | communities | communities | social norms | social norms | audiences | audiences | plays | plays | dramatic structure | dramatic structure | performing arts | performing arts | writing | writing | discussion | discussion | writer | writer | speaker | speaker | cultures | cultures | tools | tools | fiction | fiction | ethical | ethical | historical | historical | political | political | artistic | artistic | questions | questions | creativity | creativity | self-awareness | self-awareness | communicate | communicate | theater | theater | outdoor public theatres | outdoor public theatres | scaena frons | scaena frons | many theatre artists | many theatre artists | violence onstage | violence onstage | neoclassical theatre | neoclassical theatre | neoclassical rules | neoclassical rules | medieval theatre | medieval theatre | environmental theatre | environmental theatre | departures from realism | departures from realism | significant playwrights | significant playwrights | first permanent theatre | first permanent theatre | theatre history | theatre history | theatre | theatre | censorship | censorship | blacklist | blacklist | banned | banned | obscenity | obscenity | architecture | architecture | selective realism | selective realismLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.005 Introduction to Drama (MIT)
Description
Drama might be described as a game played with something sacred. It tells stories that go right to the heart of what people believe about themselves. And it is enacted in the moment, which means it has an added layer of interpretive mystery and playfulness, or "theatricality." This course will explore theater and theatricality across periods and cultures, through intensive engagement with texts and with our own readings.Subjects
Drama | literary arts | storytelling | poetry | live performance | ritual | entertainment | communities | social norms | audiences | plays | dramatic structure | performing arts | writing | discussion | writer | speaker | cultures | tools | fiction | ethical | historical | political | artistic | questions | creativity | self-awareness | communicate | theater | outdoor public theatres | scaena frons | many theatre artists | violence onstage | neoclassical theatre | neoclassical rules | medieval theatre | environmental theatre | departures from realism | significant playwrights | first permanent theatre | theatre history | theatre architecture | selective realism | neoclassical ideals | autos sacramentales | formal theatre | tiring house | realistic theatre | scene design | staging practices | female playwrights | crisis drama | symbolist drama | dramatic rules | theatrical semiosis | theatrical competence | deictic orientation | proxemic relations | theatre semiotics | theatrical communication | dramatic information | dramatic discourse | theatrical sign | theatrical discourse | theatrical frame | dramatic world | dramatic text | perlocutionary effect | theatrical text | performance textLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadata21L.703 Studies in Drama: Too Hot to Handle: Forbidden Plays in Modern America (MIT)
Description
Unlike film, theater in America does not have a ratings board that censors content. So plays have had more freedom to explore and to transgress normative culture. Yet censorship of the theater has been part of American culture from the beginning, and continues today. How and why does this happen, and who decides whether a play is too dangerous to see or to teach? Are plays dangerous? Sinful? Even demonic? In our seminar, we will study plays that have been censored, either legally or extra-legally (i.e. refused production, closed down during production, denied funding, or taken off school reading lists). We'll look at laws, both national and local, relating to the "obscene", as well as unofficial practices, and think about the way censorship operates in American life now. And of course wSubjects
drama | forbidden plays | Modern America | decision alley | drama strategies | drama skills | purchasing institution | drama activity | drama activities | writing opportunity | last wolf | learning medium | literacy activities | writing opportunities | foundation stage | assessment focus | two long lines | dramatic activity | action conventions | literary arts | storytelling | poetry | live performance | ritual | entertainment | communities | social norms | audiences | plays | dramatic structure | performing arts | writing | discussion | writer | speaker | cultures | tools | fiction | ethical | historical | political | artistic | questions | creativity | self-awareness | communicate | theater | outdoor public theatres | scaena frons | many theatre artists | violence onstage | neoclassical theatre | neoclassical rules | medieval theatre | environmental theatre | departures from realism | significant playwrights | first permanent theatre | theatre history | theatre | censorship | blacklist | banned | obscenity | architecture | selective realismLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see https://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadataHelen Hayes (LOC) Helen Hayes (LOC)
Description
Subjects
libraryofcongress | libraryofcongress | helenhayes | helenhayes | helenhayesmacarthur | helenhayesmacarthur | actresses | actresses | actors | actors | firstladyofamericantheatre | firstladyofamericantheatre | emmyawards | emmyawards | emmyawardwinners | emmyawardwinners | oscarawards | oscarawards | oscarawardwinners | oscarawardwinners | academyawards | academyawards | academyawardwinner | academyawardwinner | academyawardbestactress | academyawardbestactress | bestactress | bestactress | tonyawards | tonyawards | presidentialmedaloffreedomawards | presidentialmedaloffreedomawards | nationalmedalofartsawards | nationalmedalofartsawards | egotwinners | egotwinners | hollywoodwalkoffamestars | hollywoodwalkoffamestars | americantheatrehalloffame | americantheatrehalloffame | helenhayesawards | helenhayesawards | helenhayestheatre | helenhayestheatreLicense
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See all metadataFlexible learning for technical theatre: Trends in the live arts
Description
>Subjects
Live arts | Flexible learning for technical theatre | ILRforSkills | cultural sector | creative sector | timeline | culture | roman theatre | A/503/0259 | Greek theatre | amphitheatre | trends | stage | history | lighting | tech | design | sound | technical theatre | model answer | culture and history of technical and production developments in the live arts | Principles of the Creative and Cultural SectorLicense
Attribution-ShareAlike 4.0 International Attribution-ShareAlike 4.0 International http://creativecommons.org/licenses/by-sa/4.0/ http://creativecommons.org/licenses/by-sa/4.0/Site sourced from
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See all metadataFlexible learning for technical theatre: Impact of cultural and historical trends
Description
>Subjects
Live arts | Flexible learning for technical theatre | ILRforSkills | cultural sector | creative sector | impact of cultural and historical trends | culture | roman theatre | A/503/0259 | Greek theatre | trends | amphitheatre | stage | history | lighting | tech | design | sound | technical theatre | Award in Principles of the Creative and Cultural SectorLicense
Attribution-ShareAlike 4.0 International Attribution-ShareAlike 4.0 International http://creativecommons.org/licenses/by-sa/4.0/ http://creativecommons.org/licenses/by-sa/4.0/Site sourced from
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Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine the Shakespeare "doth bestride the narrow world" of the English Renaissance "like a colossus," leaving his contemporaries "walk under his large legs and peep about" to find themselves in "dishonourable graves." This course aims in part to correct this grave injustice by surveying the extraordinary output of playwrights whose names have largely been eclipsed by their more luminous compatriot: Marlowe, Jonson, Webster, and Ford, among others. Reading Shakespeare as just one of a group of practitioners -- many of whom were more popular than him during and even after his remarkable career -- will restore, I hope, a sense not just of the richness of English Renaissance drama, but also that of the historical and cultural moment of the English Renaissance itself. This course will examine theSubjects
Shakespeare | Shakespeare | English Renaissance | English Renaissance | Marlowe | Marlowe | Jonson | Jonson | Webster | Webster | Ford | Ford | English Renaissance drama | English Renaissance drama | the relationship between theatre and society | the relationship between theatre and society | culture | culture | aesthetic | aesthetic | gender and class dynamics in Renaissance society | gender and class dynamics in Renaissance society | money | trade | and colonialism | money | trade | and colonialism | the body as metaphor and theatrical ?object? | the body as metaphor and theatrical ?object? | allegory and aesthetic form | allegory and aesthetic form | theatricality and meta-theatricality | theatricality and meta-theatricality | the private and the public | the private and the public | allegory | allegory | aesthetic form | aesthetic form | drama | drama | gender dynamics | gender dynamics | class dynamics | class dynamics | private | private | public | public | theatrically | theatrically | meta-theatrically | meta-theatrically | money | money | trade | trade | colonialism | colonialism | body | body | metaphor | metaphor | theatre | theatre | society | society | Spanish tragedy | Spanish tragedy | Hamlet | Hamlet | Jew of Malta | Jew of Malta | Alchemist | Alchemist | Duchess of Malfi | Duchess of Malfi | Broken Heart | Broken Heart | Arden of Faversham | Arden of Faversham | Witch of Edmonton | Witch of Edmonton | Knight of the Burning Pestle | Knight of the Burning Pestle | Island Princess | Island PrincessLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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See all metadataAdapting Greek Tragedy Adapting Greek Tragedy
Description
Fiona Macintosh talks with distinguished playwright Frank McGuinness about his work in adapting Greek tragedies for modern theatre, particularly Antigone and The Medea. Fiona Macintosh talks with distinguished playwright Frank McGuinness about his work in adapting Greek tragedies for modern theatre, particularly Antigone and The Medea.Subjects
literature | literature | Euripides | Euripides | theatre | theatre | Medea | Medea | Antigone | Antigone | tragedy | tragedy | adaptation | adaptation | classics | classics | Sophocles | Sophocles | Bag Lady | Bag Lady | literature | Euripides | theatre | Medea | Antigone | tragedy | adaptation | classics | Sophocles | Bag Lady | 2009-11-24 | literature | Euripides | theatre | Medea | Antigone | tragedy | adaptation | classics | Sophocles | Bag Lady | 2009-11-24License
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See all metadataDescription
Subjects
ireland | dublin | tivoli | pub | theatre | bass | may | pit | posters | variety | monday | 20thcentury | 1915 | musichall | 31st | stalls | colbert | cornexchange | glassnegative | publichouse | leinster | tivolitheatre | burghquay | jmcgrath | robertfrench | williamlawrence | nationallibraryofireland | jimdixon | irishpress | lawrencecollection | loyalnationalrepealassociation | jeanrobb | conciliationhall | theatreofvarieties | leonardstevens | whbyrne | robbdixon | billycurzon | ivystephens | ryewodestrio | lawsonfraser | fredbluett | grandlyrichall | lyrictheatreofvarieties | williamhenrybyrneLicense
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Interactive flash asset drag and drop quiz on Greek theatre and amphitheatres.Subjects
amphitheatres | quizzes | theatre | greek theatre | roman theatre | PERFORMING ARTS | Creative Arts and Design | UK EL04 = SCQF 4 | Foundational Level | NICAT 1 | CQFW 1 | Foundation | GCSE D-G | NVQ 1 | Intermediate 1 | | Design and delivery of programmes | Teaching | design | W000 | EDUCATION / TRAINING / TEACHING | G | LLicense
Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales Attribution-Noncommercial-Share Alike 2.0 UK: England & Wales http://creativecommons.org/licenses/by-nc-sa/2.0/uk/ http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Site sourced from
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See all metadataFlexible learning for technical theatre: Technology used in the industry
Description
>Subjects
image projection | automation | flying equipment | audio and visual | sound | digital technology | how technology has affected the creative and cultural industry | creative and cultural industry | light | Dawn Walton | Igor | the young vic | technical director | Phil Bentley | unicorn theatre | eclipse theatre | smell effects | technologies | Flexible learning for technical theatre | Live arts | technology and processes used in the live arts | ILRforSkills | M/503/0260 | creative sector | cultural sector | technical theatre | tech | internet | holograms | design | stage | set construction | costume | Award in Principles of the Creative and Cultural Sector | materials | technologyLicense
Attribution-ShareAlike 4.0 International Attribution-ShareAlike 4.0 International http://creativecommons.org/licenses/by-sa/4.0/ http://creativecommons.org/licenses/by-sa/4.0/Site sourced from
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See all metadataPastomimes - Dick Whittington and his Cat
Description
Subjects
ireland | dublin | december | theatre | ephemera | posters | 20thcentury | pantomime | 1916 | brunswickstreet | davidallen | queenstheatre | leinster | dickwhittington | pearsestreet | thequeens | nationallibraryofireland | thomasbarry | greatbrunswickstreet | ephemeracollection | queensroyaltheatre | findlaterplace | sackvillepress | hollowayplaybillscollection | vision:text=0857 | vision:outdoor=087 | ghostsofxmaspast | lawrencerowland | marionbroomLicense
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See all metadataDescription
Subjects
ireland | dublin | cars | cyclists | kodak | bass | mountaindew | bicycles | stbruno | posters | kelly | trucks | players | trams | eason | tobacco | theatreroyal | oxo | tailors | chemist | glassnegative | bakingpowder | olympiatheatre | leinster | connolly | navycut | abbeytheatre | harcourtstreet | borwicks | chisellers | skingame | charlemontstreet | fruitmerchants | easonson | easoncollection | keepsketch | dateestablished | adelaidepharmacy | tokalonskinfoods | drumheadcigarettes | harcourtdairy | z4229 | yi9339 | oconnellsdublinale | shamrockandheather | ekramm | dixonscornerLicense
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See all metadataThe Online Theatre Histories Archive
Description
A Theatre Collections, the UEL archive and professional theatre collections.Subjects
theatre | archive | ephemera | cast | gay sweatshop | hackney empire | half moon | hoxton hall | jamie lumley | john earl | theatre royal | theatre venture | albert | wilton's grand music hall | a | design | W000License
Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/Site sourced from
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See all metadataThe Online Theatre Histories Archive: Research
Description
This resource contains a variety of resources that explain the uses of digital archives, where the Online Theatre Histories Archive (OTHA) sits within academic debate, and how the material can be used in creative, practice-based contexts. Included is a literature review that outlines the theories and discussions that outlines the themes a performing arts archive encompasses, several interviews with professionals in the fields of archives, theatre and documentation, two short films of workshops using OTHA as a primary point of departure for devising and a research toolkit. The last is a series of questions that are designed to encourage the researcher to think about the different ways the collection could be used in an educational and/or creative context.Subjects
theatre | archive | ephemera | cast | gay sweatshop | hackney empire | half moon | hoxton hall | jamie lumley | john earl | theatre royal | theatre venture | albert | wilton's grand music hall | a | design | W000License
Attribution 2.0 UK: England & Wales Attribution 2.0 UK: England & Wales http://creativecommons.org/licenses/by/2.0/uk/ http://creativecommons.org/licenses/by/2.0/uk/Site sourced from
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Subjects
libraryofcongress | dc:identifier=httphdllocgovlocpnpggbain29243 | xmlns:dc=httppurlorgdcelements11 | hanashimozumi | shimozumi | operasingers | primadonnas | themikado | mikado | yumyum | gilbertandsullivan | operettas | thegalloenglishoperacompany | galloenglishoperacompany | operacompanies | actorsequity | actorsequityassociation | actorsfidelityleague | theatrestrikes | strikes | stagehandsunion | musiciansunion | labordisputes | labor | openshop | closedshop | producingmanagersassociation | fortunegallo | shuberttheatre | theatres | newyorkcity | stanforduniversity | honoluluhawaii | sanfranciscocalifornia | september81919 | laborday | mrsafbridge | california | mmehanashimozumi | mmehanashimozumiiki | firefly | madamebutterfly | sancarlosoperacompany | galloenglishcomicopera | drgiki | georgesiki | drgeorgesiki | marshaiki | marshayiki | iki | universityofcalifornia | sacramentocalifornia | honolulucountyhawaii | executiveorder9066 | tulelakerelocationcenter | newellcaliforniaLicense
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Subjects
thestereopairsphotographcollection | lawrencecollection | stereographicnegatives | jamessimonton | frederickhollandmares | johnfortunelawrence | williammervynlawrence | nationallibraryofireland | largebuilding | multistorey | windows | coatofarms | pediment | ulster | belfast | theatreroyal | arthursquare | theatreroyalbelfast | probablecataloguecorrection | theatre | lanyonlynnlanyon | lanyon | lynn | locationidentifiedLicense
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Professor Oliver Taplin, an authority on classics and the performance of ancient drama, talks about the subject and his research. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
theatre | ancient greek | drama | performance | classics | ancient roman | theatre | ancient greek | drama | performance | classics | ancient romanLicense
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See all metadataPalace Theatre interior from balcony, Montreal, QC, about 1935
Description
Subjects
canada | architecture | theatre | balcony | perspective | performing | arts | ornate | palacetheatre | mccordmuseum | muséemccordLicense
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See all metadata21L.015 Introduction to Media Studies (MIT) 21L.015 Introduction to Media Studies (MIT)
Description
Introduction to Media Studies is designed for students who have grown up in a rapidly changing global multimedia environment and want to become more literate and critical consumers and producers of culture. Through an interdisciplinary comparative and historical lens, the course defines "media" broadly as including oral, print, theatrical, photographic, broadcast, cinematic, and digital cultural forms and practices. The course looks at the nature of mediated communication, the functions of media, the history of transformations in media and the institutions that help define media's place in society. Over the course of the semester we explore different theoretical perspectives on the role and power of media in society in influencing our social values, political beliefs, identities Introduction to Media Studies is designed for students who have grown up in a rapidly changing global multimedia environment and want to become more literate and critical consumers and producers of culture. Through an interdisciplinary comparative and historical lens, the course defines "media" broadly as including oral, print, theatrical, photographic, broadcast, cinematic, and digital cultural forms and practices. The course looks at the nature of mediated communication, the functions of media, the history of transformations in media and the institutions that help define media's place in society. Over the course of the semester we explore different theoretical perspectives on the role and power of media in society in influencing our social values, political beliefs, identitiesSubjects
literature | literature | comparative mass media | comparative mass media | communication | communication | modern culture | modern culture | social values | social values | politics | politics | radio | radio | television | television | film | film | print | print | digital techonology | digital techonology | history | history | storytelling | storytelling | advertising | advertising | oral | oral | culture | culture | photography | photography | oral culture | oral culture | cultural forms | cultural forms | political beliefs | political beliefs | economics | economics | mediated communication | mediated communication | class politics | class politics | gender | gender | race | race | identity | identity | behavior | behavior | criticism | criticism | global multimedia environment | global multimedia environment | consumers | consumers | theatrical | theatrical | photographic | photographic | broadcast | broadcast | cinematic | cinematic | cinema | cinema | theatre | theatre | printing | printing | publishing | publishing | books | books | electronic | electronic | transformations | transformations | narrative | narrativeLicense
Content within individual OCW courses is (c) by the individual authors unless otherwise noted. MIT OpenCourseWare materials are licensed by the Massachusetts Institute of Technology under a Creative Commons License (Attribution-NonCommercial-ShareAlike). For further information see http://ocw.mit.edu/terms/index.htmSite sourced from
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First in Emma Smith's Approaching Shakespeare lecture series; looking at the central question of race and its significance in the play. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
criticism | play | literature | language | theatre | race | othello | shakespeare | english | ethnicity | #greatwriters | criticism | play | literature | language | theatre | race | othello | shakespeare | english | ethnicity | #greatwritersLicense
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See all metadataThe Tragedie Of Othello, the Moore of Venice. (eBook)
Description
ePub version of text THE TRAGEDIE OF Othello, the Moore of Venice. / Shakespeare, William, 1564-1616. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
criticism | play | literature | language | theatre | race | othello | shakespeare | english | ethnicity | criticism | play | literature | language | theatre | race | othello | shakespeare | english | ethnicityLicense
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The second lecture in the Approaching Shakespeare series looks at King Henry V, and asks whether his presentation in the play is entirely positive. Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Subjects
criticism | agincourt | literature | language | theatre | play | Henry V | shakespeare | leadership | english | #greatwriters | criticism | agincourt | literature | language | theatre | play | Henry V | shakespeare | leadership | english | #greatwritersLicense
http://creativecommons.org/licenses/by-nc-sa/2.0/uk/Site sourced from
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