澳洲社会科学论文代写：公共剧院
公共剧院给改变比私人剧院的观众更多的机会（蒂德沃思，1973）。文艺复兴时期意大利的剧院是古典的，其设置基本上遵循文艺复兴的定义。文艺复兴创造了希腊罗马文学中的利益重生。它是在希腊传说的掺入，异教徒和扮演的时期也开始将同样的戏剧元素。经典的戏剧包括悲剧的表现，发现在书信的基本拉斐勒·里亚里奥和喜剧证明在Plautus。这些戏剧上演在高达五英尺的剧院里。时代所用的设置包括后墙、立柱和窗帘（第四章）。有隔间与小房间和空间之间的列演员可以在当正在进行的游戏。每个隔间都是剧中人的房子。他们是公司里的角色居住在罗马风格。该公司是戏中的主要人物创建。大部分的戏剧有事件或场景的戏剧发生在房屋的主要人物。需要公共空间的场景通常是开放的舞台。一种形式的多直线排列在特伦斯安德列看起。
除了这些一般的设置原则，其他一些剧院略有不同的方式可能会保持设置。一些插图需要改变的基础上发挥。喜剧的安排不适合悲剧。在l’héautontimorouméNOS的情况下，这是比赛的安排所需的四车厢，窗帘。这些隔间以三边形的形式排列。然而，在更一般的戏剧，一个直壁布置的车厢通常保持方便。
澳洲社会科学论文代写：公共剧院
The public theatres were the ones that gave more opportunities for change than the private audience theatres (Tidworth, 1973). The Theatres of Renaissance Italy were classical and the settings basically followed the definition of the Renaissance. The Renaissance created a rebirth of interests in the Greek and Roman literature. It was in the incorporation of the Greek legends, pagans and plays that the period also started incorporating the theatre elements of the same. Classical plays included tragic performance as was sighted in the Epistle to Cardinal Raffaelle Riario and the comedy evidenced in Plautus. These plays were staged on theatres that were at most five feet high. The setting used in the times included back walls, columns and curtains (Chapter IV). There were compartments created with tiny rooms and spaces between the columns where the actors could be in when the play is ongoing. Each of the compartments was the house for a person in the play. They were the Roman style of domus where the characters resided in. The domus was created for the chief characters in the play. Most of the plays had events or scenes of the play taking place in the houses of the major characters. The scenes that required a public space was usually the open stage. A form of a straight line arrangement of the domus was seen in the Andrea of Terence plays.
In addition to these general principles of settings, some of the other theatres differed slightly in the ways the setting might be maintained. Some illustrations required changes based on the play. An arrangement for a comedy might not suit a tragedy. In the case of L’Héautontimorouménos, it is seen that arrangement for the play required four compartments that were curtained. These compartments were aligned in the form of three sided figure. However, in the more general plays, a straight wall arrangement of the compartments was usually maintained for convenience.
