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By Glynne Wickham

During this masterly survey, Glynne Wickham outlines the improvement of drama during the global during the last 3,000 years, from its origins in primitive dance rituals the entire strategy to the very finish of the 20th century. hugely readable, incisive and deeply imbued with a private perspective that stresses the primacy of concert, Wickhams erudite paintings is predicated on a lifetimes functional event as a instructor, researcher director. A background of the Theatre is the right creation to the topic for all enthusiasts of the theatre, and an authoritative textbook for college kids.

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These festivities, however, were characterized the impact on indigenous folk by an important difference custom of far more sophisticated Greek mimes {Phlyakes) 1 who had imported the farce and buffooncn ,isvk iated with satyr-plays from Athens into Sicily by the fourth century b< . Particularly active in this respect wasthecitj of Atella, situated between C apua and Naples m southern Atellan farce became noted tor and was imported into Rome m itself its brevity < ampania. and topicality, the third centur) EM .

A further factor within this equation is the diminutive size of the characters represented by the actors, whether standing on the raised platform or in the circular orchestra as seen from the ranks of seating towering above them. All (b) Actors and Acting: As in the Far Fast, acting was a performances took place who thus invariably played Greek actors wore face masks (Fig. 25). is kothornoi, and to endow male characters in comedies with a large, artificial phallus; in short, that such devices were needed to distinguish one character from another and to conceal the fact that the same actor was playing several roles.

And Provi- was also made for thunder, lightning and instrumental music. Only brief snatches of Greek music have survived sion and next to nothing of the choreography or dance notation. (e) Costume: Costumes were elaborate and colourful, and became more distinctively theatrical as time passed, notwithstanding increasing textual realism. The stage cos- tumes which figure most frequently in Athenian vase- paintings and sculpture are the ankle-length dress and the worn by citizens in daily Comic actors wore the chiton; short, sleeveless tunic normally life (see Figs.

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