In addition to the categories of comedy and tragedy at the City Dionysia, the festival also included the Satyr Play. Finding its origins in rural, agricultural rituals dedicated to Dionysus, the satyr play eventually found its way to Athens in its most well-known form. Satyr's themselves were tied to the god Dionysus as his loyal woodland companions, often engaging in drunken revelry and mischief at his side. The satyr play itself was classified as tragicomedy, erring on the side of the more modern burlesque traditions of the early twentieth century. The plotlines of the plays were typically concerned with the dealings of the pantheon of Gods and their involvement in human affairs, backed by the chorus of Satyrs. However, according to Webster, satyr actors did not always perform typical satyr actions and would break from the acting traditions assigned to the character type of a mythical forest creature.[38]
Some of us like to find books that can take us on deep dives into a subject. If you are one of these people, here are five books that might interest you. From foundational texts on play therapy to more modern, updated collections, and whether you are a prospective play therapist or simply a curious parent, at least one of these books is for you.
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If at least partly inhabited by stage north africans and stage Natives, the early national American stage, like the late eighteenth-century London theatre, was home to Irish characters of all sorts. A few American playwrights before 1825 created Irish characters for their dramas, the subject of this chapter, but as with other ethnic types, the vast majority of plays featuring stage Irish figures were British (in the sense that they appeared in London before Philadelphia). Until the vogue for Irish stereotypes took control of the stage in the 1830s and 1840s, American playwrights were more likely to evoke other types first, notably the Yankee and the stage African, although in the English theatre, the man or woman of Ireland had been the comic foreigner of choice for a century. By the mid-nineteenth century, home-grown Irish types proliferated in the American theatre and would continue in the playhouse and on the cinema screen for the next hundred years. With Dion Boucicault, Irish comic characters on the American stage earned some measure of cultural stature and favorable critical commentary. Very little, though, has been said about the figuration of Irish types in American drama before the 1820s. Even so, American playwrights in the early republic did employ Irish characters, and a few turned to the image of the brogue-speaking, moderately foolish type that was later absorbed into the more outrageous and coarsely delineated Paddy.
Rare books, manuscripts, images, ephemera, and audiovisual materials documenting the performing arts, with particular strengths in Anglo-American theater, ballet, opera, music, and historical forms of popular entertainment. 2ff7e9595c
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