Italian opera is the earliest known opera form. Although the Greek and Roman Theater had inspired it, it inspired many countries around the world, including most of Europe. Some say that the word opera has been derived from the Italian words “Opera in Musica” which means work in music. The evidence of the very first opera performed in Italy was at the wedding of Marie de Medici and Henry IV of France. The Italian opera had three stages namely the baroque, the romantic and the modern.

Baroque period is the name of that period of Italian opera that originated in Italy in the beginning of the 17th century. The voice used was very high pitched along with instrumental music. This style was known as monody and was developed by Giulio Caccini and Jacopo Peri. It was reflected in the opera Euridice that was based on the story of Eurydice and Orpheus. When there were no dialogues during the performance, there were songs with music. This type of opera inspired many other writes, on of them was Claudio Monteverdi who wrote La Favola D’Orfeo that had the monody style. It was his first play and it still is famous with the audience today. Monteverdi worked hard on synchronizing instrumental music with the words and showed this effort in Mantua, with large choruses with nearly forty instruments that created a really good effect. He was named as the Maestro Da Cappela in Venice in the year 1613.

The first opera house for public was opened in the year 1637. Monteverdi wrote many compositions for this theater and his works L’Incoronazione di Poppae and I Ritomo d’Ullise in Patria were prominent out of the many. He even brought the Bel Canto and Buffa styles into Italian opera. Bel canto had a more even tone and eased the singing stress. Buffa had more comic touch with amusing and mocking elements. All these acted as the stepping-stone for many other later composers. At the end of the century there were three hundred and fifty opera created for the theaters of Venice alone. Many young artists were inspired to work in these theaters and bring out their talents. People came from outside Italy too.

In the 19th century romantic opera began to rise and Gioacchino Rossini was responsible for it. The romantic opera involved lots of emotions and imagination along with lots of music and arias. This music was so fine that it over shadowed the blunders in the stories. His composures such as La Cenerentola and Barber of Seville are famous till today. Many others such as Vincenzo Bellini, Giuseppe Verdi and Gaetano Donizetti followed him.

Giuseppe Verdi changed the way opera was written at that time. Nabucco was his first work and it was a very big success because of the great choruses along with enormous liveliness in the music. He even wrote Va pensiero, a chorus presentation to inspire the warriors at the time of Italian independence struggle. The works, which followed this had a more patriotic theme and were also based on older romantic works. He began to venture into different musical forms and finally his creation Otello replaced Rossini’s opera. His last work Falstaff finally changed the conventional form of theater and made music and words more free flowing.

PPPPP

Word Count 552

During the 18th-19th century Peking opera or more commonly known as Beijing Opera flourished in the Qing Dynasty. It had attained such levels that it was specifically being performed in the royal court and later was made accessible to public. Native to the Anhui and Hubei province this art later became the cultural jewel of Beijing, Tianjin and Shanghai. Over the period of time its fame crossed the Great Wall of China and spread to countries like Taiwan, Japan and America.

The movements of the dancers are very graceful. Dialogues, music, song, dance and combat are used to the fullest extent to depict the storyline which majorly revolves around Chinese age old folklore and history. The Beijing opera performers wear bright colored outfits to be the center of attraction on sparingly decorated stage. The dialect used in dialogue delivery is archaic dialect. Since it has a great historical value the actors really worked hard in order to respect and carry on the tradition. The training was started at a very tender age which lasted for seven years on permission from the parents. The student was expected to pay back to the teacher by the future performances. Daily routine consisted of early rise followed by training in acting, acrobatics, and combat. The senior students perform in the evening theaters. Upon committing a mistake the whole bunch of students were punished with bamboo cane but training became milder during the 1900s. These schools were shut down during the Japanese invasion in 1931 but again reestablished in 1952. The renowned schools popular in this art are the Ma Lianliang school, the Qi Lintong school and the Cheng Yanqiu school. The repository of this opera includes about one thousand and four hundred works.

The Four Anhui Troupes was responsible for the birth of Beijing opera in the late 1700s. They were joined by the Hubei tropes in the early 1800s and came to its complete form in mid 1800s. This form of art is actually a mixture of various dance forms and music with a unique twist. There are four leading characters in Beijing opera. The Sheng is the male lead role with subtype Laosheng, old and wise version, Xiaosheng, the younger version and Wusheng, the warrior version. This character is gentle and sophisticated and the costumes worn by them are more subtle. The Laosheng character is further categorized as Guan Gong, God of War and Zhao Kuang-yin, the first emperor of the Song Dynasty. Xiaosheng sings in a loud and shrill voice.

In the later years, the male actors began painting their faces. These characters were known as Jing. They were usually supporting characters and were forceful so they had to have a heavy voice and exaggerated expression. Dan is the female lead and is divided into five types. Laodan was played by aged ladies, Wudan was played by middle aged women depicting married women, Daomadan were brave female warriors, Qingyi were righteous women and Huadan were young and innocent girls. The role Qingyi and Huadan together is known as Huashan.

The male clown role was known as Chou. It was a minor role to add some humor to serious scenes. The character of Chou hardly got a chance to sing when compared to the Kunqu opera which was its inspiration. On the whole this art form cut down on the voice and singing .Acrobatics came to its full form in Beijing opera. So actors who couldn’t sing much but knew acrobatics well were easily taken into the performing troupe.

The drama was being accompanied with music. The two different styles of music being played are Xipi, created by the Anhui tropes and Erhuang, created by the Hubei tropes. Based on this music, the earliest name of Beijing opera was Pihuang which changed according to geographical location and time. The melodies can be classified as arias, fixed and percussion. It was known as Guoju in Taiwan.

The Anhui troupe gained name and fame after forming Beijing opera and were invited to various kingdoms to perform. Empress Dowager Cixi encouraged this art and became a great admirer of it. The performing troupes consisted of only males at first as the Qianlong Emperor had banned female actors. But in the 1870s, a former Beijing opera performer, Li Maoer started a female troupe, which persuaded others to take the lead and finally the ban was lifted in 1912.

PPPPP

Word Count 736

The Greeks had denizens excelling in all kinds of trade and they had a habit of excelling in their respective fields irrespective of whatever constraints are presented to them. Although the Greeks were known to be great warriors and athletes they were also good in artistic fields such as theater, pottery and philosophy. Athens was the scholastic epicenter of ancient Greece and was named after the goddess of wisdom, Athena. Theaters of Greece flourished during 500-300 BC which has an effect on theater arts till this date.

Theater was symbolized by two masks which represented the masks worn during comedy and tragedy. They also depicted the dual nature of life. The tragic mask had a painful and mourning expression and the comedy mask had a joyful and smiling expression.

Festivals were held to honor the theater arts. Every year at the Theater of Dionysia named after the Greek god of wine and fertility Dionysus, festival was held for ten days to please the gods. Writers and poets from all over Greek gather to perform. The schedule consisted of plays based on tragedies or comedies which were followed by a short farce. It was from the poetry of Aristotle. He wrote songs, known as dithyrambs, to praise god Dionysus out of which tragic stories began evolved.

In 500 BC, another theater art was discovered by Thespis. It involved a single actor playing various roles by wearing different masks to differentiate between the characters. Other than him there were narrators and commentators on stage with whom the actor used to collaborate. This type of theater arts was recognized as tragedy which meant goat skin in Greek. It was either named after the event of sacrificing goat to gods or after the goad skin worn by the performers. Competitions were being conducted in festival at theater of Dionysia. Thespis was the first known actor of ancient Greek.

Aeshylus, in 471 BC, introduced plays having two actors who interacted with each other using dialogue. A third actor was introduced by Sophocles in 468 BC and thus the plots too became complicated. But each actor was to enact different characters wearing mask accordingly. The masks were so large that it covered the entire face of the actor including his hair. The mask was carved with care because that increased audibility of the actor’s voice. These masks were made out of linen or cork, that’s the reason why the archeologist couldn’t find a trace of them. The sculptured statues and paintings depicted actors wearing mask this was how the information was collected. Props weren’t still were restrained from usage because the size of the theater were so large, it diminished the visibility of the spectators seated on higher levels. To make up for this, Pantomime was used by the actors. This also meant that the actors wore bright dresses and loud makeup to attract the attention of the audience. Along with that the actors wore high heeled boots and large gloves to make them more vividly visible. Stories not only revolved around Dionysus but also were based on other Greek mythological characters.

The structure of the theater at that time was known as Theatron. They were open-aired and were constructed on the slopes as the seating arrangement for the spectators was in the form of ascending circles. The theaters were designed such that the voice of the performers could reach the highest seated audience. In the theater at Epidaurus one can hear the sound of a dropped pin from the highest row. The three essential elements of the theater, in Greece, were orchestra or the platform, on which performance was done, the Skene, was a building which acted as the backstage as well as the background of the play and the last element is the audience.

The audience and performers at all theaters were only men as at that time women were considered to be the downtrodden sect. The actors as well as the chorus could speak dialogue or even sing as required. Detailed costumes and huge mask were worn while enacting the roles and was the trademark of Greek theater.

PPPPP

Word Count 688

Classical ballet is a type of ballet. Training in Classical Ballet requires dedication for strenuous workouts and a strong lower body. The styles of classical ballet training can be divided into seven types. The most famous ones are Vaganova or Russian method, Balanchine or American method, Royal or English method, Cecchetti or Italian method, Royal Academy of Dance method.

Dancers usually wear white, black, pink and flesh colored tights and a leotard. The styles and colors of the leotard can vary according to the storyline. The leotard garment has been named after the French acrobat Jules Leotard who made it famous. The shoes worn by dancers are very important as they will have a direct impact on the feet of the dancer and can also cause harm to them. During the course of time different kinds of shoes have been made for ballet dancers. At first the dancers are made to work on soft technique shoes rather known as flat shoes. Once the bones are no longer fragile and have become strong and mature enough the dancers are made to practice on Pointe shoes. The tutu is not a must though it can be used to bring in royalty with crochet sequenced wrap skirt.

Pointe shoes, if not worn properly and on proper time can cause intense damage and sometimes disability to the dancer especially if high impact dancing is done. Before starting to wear them, it’s very essential to get a thorough bone structure diagnosis done by the doctors. Although the ballet trainers might be of some help but they cannot outdo the doctors who are more familiar with the anatomy of the body. The hardness of the bones of not only ankles, but also knees, hips, arms and back should be checked along with the check of muscle density. It’s advised that you should start wearing the Pointe shoes after sixteen. After starting their use the dancers should practice vigorously for long hours to build their strength. If compared to all other kinds of sports football is the only game which requires more strength than ballet.

Nearly eighty percent of ballet dancers get injured at some point of time while performing. Some movements are so out of the natural range that it can lead to unhealthy stress on the body and if not done correctly can result in serious consequences. Many beginners get knee injuries and shin splits if they don’t do the plying, which is deeply bending the knees in a correct way. Warm up exercises should be done before starting the practice or performance. Other surrounding conditions should be taken care of and things like hard floor, cold temperature and uncomfortable clothes should always be avoided.

Another major issue with the ballet dancers is that they are expected to have a slim figure and should be on the lighter side because some dances require the dancers to create an illusion of floating. So as to maintain a beautiful body, the dancers start dieting and sometimes develop eating disorders such as bulimia, anorexia or nervosa. Sometimes to keep away from eating and to control their weight many dancers switch to smoking. They find this method less stressful and that’s the reason why forty percent of the ballet dancers both men as well as women are smoker. This is a serious health issue which has serious consequences later on in life. If the dances control their diets to the farthest extent they are also on the danger of risking the strength required.

But when done correctly and according to the rules, it can act as a great strength training program. Many athletes take ballet part time classes to make their bones and muscles more strong and body more flexible. But the ballet dancers have very tough competition and job security is also very low. This adds to their stress.

Other dance forms such as modern ballet, contemporary ballet and hip hop dance are basically inspired works from classical ballets.

PPPPP

Word Count 665

With unique and diverse style German theater arts are comprises of a different blend of drama and music. At first Germany lacked behind while England and Spain were evolving in their own theater styles. The Germans were always involved in war and religious riots which distracted their attention from the field of arts. There was also a lack of proper capital which could become the epicenter of such progress. The old stories had a very medieval look and weren’t polished enough. But once the interest was developed it became more of a cultural interest which later resulted in an academic interest with various universities providing courses in the various field of arts. The theater was one place in Germany where people were free to express and exchange their ideologies.

In 1767 the first German national theater was established and in the year 1890 Deutsches Buhner-Jahrbuch made its first appearance. Presently, the “Three Category House” is the theater structure responsible to encourage performing arts like opera, music, drama and dance. Every season, five thousand and three hundred productions are performed by this board and on a yearly basis, a total of hundred and twenty thousand. New productions are being created as well as age old musical dramas of Shakespeare like “Romeo and Juliet”,” Midsummer Night’s Dream” is also enacted. The storyline of most of the performances are socio-economic, political and reflects the ups and downs of the society. Directors like Max Reinhard, Erwin Piscator and Berthold Brecht have evolved on these subjects and have created a theoretical analysis called “epic theater”.

The seventeenth and the eighteen centuries were the struggling period of German opera. Opera took its full form later on with composers such as Handel and Gluck. Ferruccio Busoni was a renowned composer although originally he was an Italian. In 1678 the Theater an Gansemarkt was brought up in Hamburg specially meant for opera performances. It was inaugurated with the performance of Johann Theile’s Der erschaffene, Gefallene und Aufgerichtete Mensch which had the storyline of Adam and Eve. It was then followed by operas with religious themes. This was encouraged by the Pietist church to maintain the reputation of the theater as moral regulator. Later it was taken over by composer Reinhard Keiser who composed nearly hundred operas over broader themes which included history and mythology. He brought along many other traditions into the original opera which was the beginning of many more changes.

The country’s fifteen states are controlled by one organization Lander with respect to theater arts by supporting them financially and politically. Every year they spend US $2 billion on opera houses, theaters and orchestra. Every year festivals too are being held to celebrate the spirit of arts. Altogether sixty festivals are the venue for rewarding renowned actors, actresses, writers, plays and encouraging new talent.

But the modern theater of Germany began experimenting with the traditional performances. As times changed so did the society. The writers of today are forcing the audience to come out of the old set mode of linear flow, replacing it with patchworks. The use of contrastive language, impersonalized figuration and destructive illustration has made the audience and critics question about the legitimacy of the post-modern theater and rather refer to the present situation as an artistic crisis. Few directors like Frank Castorf, Thomas Ostermeier, and Falk Richter can be relied upon for good work.

PPPPP

Word Count 565