It’s interesting that in the early 1900s bourgeois Europeans looked to productions to find relief in the fact that they felt their community was “unique and superior to others”. If it weren’t for these productions, how do you suppose they would find relief, and how could that have changed their communities culture?

Do you think theatre today has the same impact on current events within a nation ? Or does it differ due to advances in technology ?

One question I had during this reading, from an actor’s standpoint, was whether or not the rise of romanticism and individualism, and the time of growing populairty of representational acting were happening at the same time? Considering that all of these views on life and theatre take a more inward approach, it would make sense that they came about together. If so, a second question would be, did an actor’s training and preparation increase at this point in time ?

If it were not for the French Revolution and the Age of Romanticism, do you think the theme of superheroes would still be a prominent theme today?

From the reading, it seems that most theater productions of the past have been heavily influenced by contemporary issues. Does that still hold true today, or do creators now  tend to exercise more creative freedom? If the former, what kind of themes and subjects are distinctly prevalent in modern productions?

Public opinions are values were prominent to Theatrical development (Melodrama), so were the ideas of Nationalism. Do you believe that these ideology still play  an effectual role in our contemporary development /change centered around Melodramatic Theater, or is the effect minuscule?

We have been through how the nationalism and arts are linked by many examples. Ecpecially during war, arts are influenced the nationalism. During WW2 and the Cold War, there are lots of print, theatre, music, and movie that contains nationalism to inspire.  But can you say their relationahip is only exist in during war?

My question stems from how cultures, or nations are represented on stage, and how these nations prefer to be represented.  For example, while reading, I was surprised to see that Salvini’s Othello was accepted by the Italian nation-state as a positive stereotype.  Though the character of Othello was a powerful warrior, he was also a “Moor,” and rather brutishly smothers his wife, Desdemona, to death.  Why would this be a suitable symbol for the Italian nation-state at the time?

Who do you think in America 2016 is a good example of a “nationalistic” artist, specifically in theater or in any of the performing arts fields? Can you think of any nationalist presence in any plays in the recent years or at all in American history?

If art is universal, then is the art of an idea universal? The power to bring cultural consciousness across an art form is fascinating, so is the theatre one of these odd cultural universals like language?