The Theatre Portal

Ancient Greece theatre in Taormina, Sicily, Italy

Theatre or theater is a collaborative form of performing art that uses live performers, usually actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. It is the oldest form of drama, though live theatre has now been joined by modern recorded forms. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. Places, normally buildings, where performances regularly take place are also called "theatres" (or "theaters"), as derived from the Ancient Greek θέατρον (théatron, "a place for viewing"), itself from θεάομαι (theáomai, "to see", "to watch", "to observe").

A theatre company is an organisation that produces theatrical performances, as distinct from a theatre troupe (or acting company), which is a group of theatrical performers working together. (Full article...)

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This naval battle was one of the sets for Elkanah Settle's Empress of Morocco
The Restoration spectacular, or elaborately staged "machine play", hit the London public stage in the late 17th-century Restoration period, enthralling audiences with action, music, dance, moveable scenery, baroque illusionistic painting, gorgeous costumes, and special effects such as trapdoor tricks, "flying" actors, and fireworks. These shows have always had a bad reputation as a vulgar and commercial threat to the witty, "legitimate" Restoration drama; however, they drew Londoners in unprecedented numbers and left them dazzled and delighted. Basically home-grown and with roots in the early 17th-century court masque, though never ashamed of borrowing ideas and stage technology from French opera, the spectaculars are sometimes called "English opera". The expense of mounting ever more elaborate scenic productions drove the two competing theatre companies into a dangerous spiral of huge expenditure and correspondingly huge losses or profits.

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Henry Edwards
Henry Edwards (1827–1891) was an English-born stage actor, writer and expert in the science of insects who gained fame in Australia, San Francisco, and New York City for his theatre work. Edwards was drawn to the theatre early in life, and he appeared in amateur productions in London. After sailing to Australia, Edwards appeared professionally in Shakespearean plays and light comedies, primarily in Melbourne and Sydney. Throughout his childhood in England and his acting career in Australia, he was greatly interested in collecting insects, and the National Museum of Victoria used the results of his Australian fieldwork as part of the genesis of their collection. After writing a series of influential studies on butterflies and moths on the West Coast of the United States, he was elected a life member of the California Academy of Sciences. Relocating eastward, a brief time spent in Boston theatre led to a connection to Wallack's Theatre and further renown in New York City. There, Edwards edited three volumes of the leading insect journal Papilio and published a major work on the life of the butterfly. His large collection of insect specimens served as the foundation of the American Museum of Natural History's butterfly and moth studies.

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Oscar Wilde
As far as my work is concerned [the ideal dramatic criticism is] unqualified appreciation.
Oscar Wilde, St James's Gazette interview, 1895

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