关于希腊戏剧的英文介绍最好有希腊戏剧简介,和重要人物,重要时期的的介绍,感激不尽!

关于希腊戏剧的英文介绍最好有希腊戏剧简介,和重要人物,重要时期的的介绍,感激不尽!
关于希腊戏剧的英文介绍
最好有希腊戏剧简介,和重要人物,重要时期的的介绍,感激不尽!

关于希腊戏剧的英文介绍最好有希腊戏剧简介,和重要人物,重要时期的的介绍,感激不尽!
鍦╣oogle閲屾悳 an introduction to greek opera灏卞彲浠ユ壘鍒颁簡.
unlike other musical forms,opera did not evolve over many decades.Rather,it was invented,literally and with premeditation,at the end of the sixteenth century in Italy.Although opera is a child of the Baroque era,it was born in the twilight of an age that set out to capture the cultural sensibilities of ancient Greece,one of the most glorious hours of humankind.With Greek ideals bursting forth in sculpture,painting,philosophy,and ethics,it was natural that music would be affected.
Yet,ironically,those men who "invented" opera were not interested in recreating Greek music as such,but in recapturing the tragic drama of classical antiquity.This,they failed to do.Instead,unwittingly,they accomplished a great deal more:they created a musical form that has continued to fascinate the world for more than 400 years.
Before the birth of opera,music played largely a supporting role in the pageantry and arts of the time.Renaissance courts were alive with grand banquets,tourneys,festivals,and such brilliant entertainments as the mascherata (a sort of musical variety show),which consisted of many short and diverse parts.The best known of these were the comic intermezzo; the pastorale,with its amorous shepherds and shepherdess; and the madrigal comedy,a story expressed through part-singing.
None of these could be called "dramatic" in the sense that we attribute to opera today.However,these elements were preparing the ground for the emergence of opera.The traditional medium of sacred music had given way to a secular and more direct means through which to express human emotions.Then,too,an independent instrumental style was emerging,thanks to the growing sophistication of the instruments of the time and a heightened awareness that a lute or a flute could do more than merely accompany a tune.This,plus the simultaneous development of a new and bold style of writing for the voice,pioneered in Monteverdi's madrigals,provided the seeds that would blossom into a powerful dramatic creation.
The first attempt at drama sung and acted was made by a group of Florentine intellectuals,poets,musicians,and connoisseurs who called themselves the Camerata,or "club." They knew that music had been an integral part of Greek theater,that the actors and the choruses had intoned their speeches on pitches accompanied by flutes and lyres to bring a color and intensity to words that the speaking voice could not match.This,more than any other single concept,is still the basis of opera's appeal.It is through a heightened means of song that emotions and ideas are intensified and made to move or excite the audience.
In the works created by the Camerata,there were no melodies as such,only carefully charted pitches meant to underline and stress the thoughts of the text.The first piece in this style -- indeed,the first opera ever -- was DAFNE,written in 1594 by two young members of the Florentine club,poet Ottavio Rinuccini and composer Jacopo Peri.It had its first performance in Florence's Pitti Palace on October 6,1600,to celebrate the marriage of Henry IV of France to Maria de Medici.Opera has changed internally and drastically since then,but its original concept remains intact:drama sung and accompanied by instruments.
This basic convention of opera,the fact that it is drama set entirely to music,distinguishes it from an operetta (literally,"small opera") like Johann Strauss's "Die Fledermaus" or a musical comedy like Lerner and Loewe's "My Fair Lady," in which musical numbers alternate with spoken dialogue.If it seems strange to mention "Die Fledermaus" and "My Fair Lady" in one breath -- after all,they demand quite different types of voices -- it is only because you are missing a few of the links that bind one to the other.When European operetta came to America,it was not only translated but transformed into works such as Sigmund Romberg's "The Student Prince" and "Show Boat," by Jerome Kern and Oscar Hammerstein II.From there was only a hop and a skip to Rodgers and Hammerstein's "Oklahoma," and then on to "My Fair Lady."
What can be expressed in a few words and a few seconds in the legitimate theater might take many minutes in the opera house,depending on the period in which the opera was written and the style of the composer.Handel in the eighteenth century created whole sections out of a single sentence.By the twentieth century,composers were attempting to come closer to life and patterned their operas more after spoken theater,and one sung sentence began to equal one spoken sentence.
In short,an opera is whatever a composer and his librettist (the author of the words) wish it to be.The boundaries of this world exist only within their minds,and an opera is only as good as their imaginations.For the last 400 years,opera has more than proven its ability to survive and entertain.Its future rests with those who are capable of responding to its challenges with creativity and conviction.