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By Glynne Wickham

During this masterly survey, Glynne Wickham outlines the improvement of drama during the global over the past 3,000 years, from its origins in primitive dance rituals the entire approach to the very finish of the 20 th century. hugely readable, incisive and deeply imbued with a private point of view that stresses the primacy of concert, Wickhams erudite paintings relies on a lifetimes sensible event as a instructor, researcher director. A historical past of the Theatre is the correct advent to the topic for all fanatics of the theatre, and an authoritative textbook for college students.

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Nature cry out for recognition as forcefully as the more and in part the formal restrictions automatically imposed on these licensed occasions by limiting them to a single major festival each year. rational Of and all spiritual elements, Aristophanes' plays it is Lysistrata (first staged — where women deny sexual intercourse to their 411 bc) husbands in order to bring the war to an end which has been most frequently revived in modern times. This is undoubtedly because its theme, 'Make love, not war', has corresponded so closely with modern sentiment; but it is in — also true that this play, in containing less material extra- neous to its theme and fewer topical allusions principal than Aristophanes' other plays, is the easiest for actors to handle within stage-conventions familiar to audiences Not the least of number of good parts it today.

Foreigners were distinguished from Greeks by the use of elaborately woven and embroidered long-sleeved tunics, and by realistic features in the ornamentation of their clothes, armour, hair-style, hats and helmets. Gods were distinguishable, as already observed, by their insignia Hermes, for example, by his winged boots and caduceus or mace; Herakles by his lion skin and — Ancient Greece and the Hellenistic World id. 345 rudely awoken by two B< , depicting a scene from Middle ( thieves while his servant stands ineffet tually out of barm's way.

Whose clowning was loosely linked to Its cedents, — — some They thus bear intrigue or other (Fig. 28). resemblance to their sixteenth-century successors ern Italy, the Commedia dell' Arte, improvisation and whose special in a marked in north- whose special skill lay claim on the affections of audiences rested on their familiarity. It is to be doubted, however, whether our knowledge of what the actors of the fabulae atellanae actually presented or formed will ever how it was per- be more precise than those fragmentary from such authors descriptive accounts that survive as Dio- of Fabula Palliata critics.

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