Part One
According to art history (16th and 17th century), even after Broadway’s theater displayed the first sign of relevance in New York City by the mid 1700s, acting was seen as a career equivalent to smaller occupations. But with ‘Star Performers’ emergence in the nineteenth century, particularly in England, opinion began to change. The perceptions of these artists were higher than in Shakespeare’s day. The acting career was esteemed and considered a profession from that time on.
The actors only acted in the morning and later in the day, during Shakespeare’s time. There were no multiple copies of the play and thus each actor had their part written out to memorize. This prints only contained the actor’s lines and cues, plus the last words spoken by the previous actor.
The intricacy of vernacular-religious drama with its mystery plays, which often included processions, effects elaboration and crowd scenes made the role of directors significantly paramount. According to scholars, their job involved overseeing the erecting of a stage and scenery, directing and casting the actors, and addressing the audience at the beginning of every performance and after intermissions.
The female actors (actresses) appeared on the English stage in 1629. Before this time, the feminine role in the drama was played invariably by youths and boys, who were trained to the professional by the older actors.
Part Two
Commedia Dell’ Arte began on the street in the 1500 and grew to become one of the most influential and enduring theatre styles in the globe. Commedia Dell’ Arte is an Italian Renaissance form, which utilizes half masks covering the top lip, nose and the eyes leaving the mouth free of speech. This genre developed three kinds of stock characters: the inamorati, the servant, and the master. Some of the modern day stock characters can be identified in the “Mickey Mouse and his crew of friends” cartoon.
According to the play, Nora has free-will. For instance, she chooses to follow her husband decree in every household affair and bears the domination. As a wife, she shows her sacrifice to save her husband. Similarly, her adaptive nature, which is without any sense of self-egotism depict her caring nature. Moreover, Nora has some self-wisdom that also represents her free character. For instance, she is not lawful as Mr. Krogstad or orthodox as her husband.
Part Three
21. Liturgical drama
22. Box set
23. Chorus
24. Climax.
25. Laertes.
26. Deus ex machina.
27. Dionysus
28. Exposition.
29. Widow Quin.
30. Gladiatorial protests.
31. Realism
32. Vernacular drama.
33. Wayang Kulit
34. Naturalism
35. Noh
36. Protagonists.
37. Zanai
38. Norway.
39. Tragedy
40. Hell Mouth
