A theatrical producer is a person who oversees all aspects of mounting a theatre production.

The
producer is responsible for the overall financial and managerial functions of a production or venue,
raises or provides financial backing, and hires personnel for creative positions (writer, director,
designers, composer, choreographer—and in some cases, performers).

A 'theatre director' or stage director is a professional in the theatre field who oversees and
orchestrates the mounting of a theatre production (a play, opera, musical, or devised piece of
work) by unifying various endeavors and aspects of production.
playwright. A playwright is someone who writes plays. Playwrights are also known as
dramatists. Just as a poet writes poems, a playwright writes plays. If the spelling
of playwright looks odd, that's because wright is a word for a craftsperson or someone who
builds things (like a shipwright builds ships).

A set designer is in charge of designing and creating the sets that appear in films and
television programmes as well as in the theatre. The role involves working with and
communicating with directors, producers, costume designers and other members of staff.

Lighting designerA set designer is in charge of designing and creating the sets that appear in
films and television programmes as well as in the theatre. The role involves working with and
communicating with directors, producers, costume designers and other members of staff.
A costume designer is a person who designs costumes for a film, stage, production or
television. The role of the costume designer is to create the characters' outfits/costumes and
balance the scenes with texture and colour, etc. ...

The Sound Designer is responsible for obtaining all sound effects, whether recorded
or live for a specific production. He/She is also responsible for setting up
the sound playback equipment and must make sure the board operator is properly
trained. Sound Design is an artistic component of the production.

Production designers are responsible for the visual concept of a film, television or theatre
production. They identify a design style for sets, locations, graphics, props, lighting, camera
angles and costumes, while working closely with the director and producer.

Production Manager. A production manager works with designers, the technical crew, and
the management team to make sure the technical elements of a show are completed safely, on
time, and on budget. Production managers are often full-time staff members at
large theatres and work on every show during a season.

aact.org
A technical director is a highly trained, skilled theatre professional with deep
knowledge about the design and technical aspects of the art form. This person is
responsible for working with designers, design technicians, and production managers to
make sure all technical aspects of a production are safe and organized

Choreographers design and direct the dance or stylized movement in musical

productions, working closely with the director and musical director.
A choreographer works with dancers to interpret and develop ideas and transform
them into the finished performance
A make-up or makeup artist (MUA) is an artist whose medium is the human body,
applying makeup and prosthetics on others for theatre, television, film, fashion, magazines and
other similar productions including all aspects of the modeling industry.

Body System Primary Function Organs Included

Respiratory Breathing  Lungs

 Trachea

Cardiovascular/Circulatory Blood circulation  Heart

 Arteries
 Veins
 Blood

Digestive Processing food  Mouth

 Pharynx
 Esophagus
 Stomach
 Intestines
 Accessory organs: liver,
gallbladder, abdomen,
appendix

Endocrine Hormone production A number of glands throughout

the body, including but not
limited to:
  Thyroid
 Pituitary
 Adrenal glands

Urinary Waste elimination  Kidneys

 Bladder

Reproductive Reproduction  Uterus

 Ovaries
 Fallopian tubes

Nervous/Sensory Communication between and Nervous:

coordination of all the body
systems  Brain
 Nerves

Sensory:

 Eyes
 Ears

Integumentary Protects against damage  Skin

 Hair
 Nails

Muscular/Skeletal Provides form, support, stability,  Muscles

and movement to the body  Bones

Hematopoietic/Lymphatic Blood production,  Bone marrow

maintenance of fluid balance,  Spleen
and defense against disease  Tonsils
 Lymph fluid, nodes,
ducts, vessels
History of theatre
From Wikipedia, the free encyclopedia
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Performer playing Sugriva in the Koodiyattam form of Sanskrit theatre
Hannah Pritchard as Lady Macbeth and David Garrick as Macbeth at the Theatre Royal, Drury Lane in April
1768

The history of theatre charts the development of theatre over the past 2,500 years. While
performative elements are present in every society, it is customary to acknowledge a distinction
between theatre as an art form and entertainment and theatrical or performative elements in other
activities. The history of theatre is primarily concerned with the origin and subsequent development
of the theatre as an autonomous activity. Since classical Athens in the 6th century BC, vibrant
traditions of theatre have flourished in cultures across the world.[1]

Origins[edit]
Theatre arose as a performance of ritual activities that did not require initiation on the part of the
spectator. This similarity of early theatre to ritual is negatively attested by Aristotle, who in
his Poetics defined theatre in contrast to the performances of sacred mysteries: theatre did not
require the spectator to fast, drink the kykeon, or march in a procession; however theatre did
resemble the sacred mysteries in the sense that it brought purification and healing to the spectator
by means of a vision, the theama. The physical location of such performances was accordingly
named theatron.[2]
According to the historians Oscar Brockett and Franklin Hildy, rituals typically include elements that
entertain or give pleasure, such as costumes and masks as well as skilled performers. As societies
grew more complex, these spectacular elements began to be acted out under non-ritualistic
conditions. As this occurred, the first steps towards theatre as an autonomous activity were being
taken.[3]
European theatre[edit]
Greek theatre[edit]

The best-preserved example of a classical Greek theatre, the Theatre of Epidaurus, has a
circular orchêstra and probably gives the best idea of the original shape of the Athenian theatre, though it dates
from the 4th century BC.[4]

Main articles: Theatre of Ancient Greece, Ancient Greek comedy, and Satyr play
Greek theatre, most developed in Athens, is the root of the Western tradition; theatre is in origin a
Greek word. It was part of a broader culture of theatricality and performance in classical Greece that
included festivals, religious rituals, politics, law, athletics and gymnastics, music, poetry, weddings,
funerals, and symposia.[5][a] Participation in the city-state's many festivals—and attendance at the City
Dionysia as an audience member (or even as a participant in the theatrical productions) in
particular—was an important part of citizenship.[6] Civic participation also involved the evaluation of
the rhetoric of orators evidenced in performances in the law-court or political assembly, both of
which were understood as analogous to the theatre and increasingly came to absorb its dramatic
vocabulary.[7] The theatre of ancient Greece consisted of three types of drama: tragedy, comedy, and
the satyr play.[8]
Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an
important part of the theatrical culture of the city-state.[9][b] Having emerged sometime during the 6th
century BC, it flowered during the 5th century BC (from the end of which it began to spread
throughout the Greek world) and continued to be popular until the beginning of the Hellenistic
period.[10][c] No tragedies from the 6th century and only 32 of the more than a thousand that were
performed in during the 5th century have survived.[11][d] We have complete
texts extant by Aeschylus, Sophocles, and Euripides.[12][e] The origins of tragedy remain obscure,
though by the 5th century it was institutionalised in competitions (agon) held as part of festivities
celebrating Dionysos (the god of wine and fertility).[13] As contestants in the City Dionysia's
competition (the most prestigious of the festivals to stage drama), playwrights were required to
present a tetralogy of plays (though the individual works were not necessarily connected by story or
theme), which usually consisted of three tragedies and one satyr play.[14][f] The performance of
tragedies at the City Dionysia may have begun as early as 534 BC; official records (didaskaliai)
begin from 501 BC, when the satyr play was introduced.[15] [g] Most Athenian tragedies dramatise
events from Greek mythology, though The Persians—which stages the Persian response to news of
their military defeat at the Battle of Salamis in 480 BC—is the notable exception in the surviving
drama.[16][h] When Aeschylus won first prize for it at the City Dionysia in 472 BC, he had been writing
tragedies for more than 25 years, yet its tragic treatment of recent history is the earliest example of
drama to survive.[17] More than 130 years later, the philosopher Aristotle analysed 5th-century
Athenian tragedy in the oldest surviving work of dramatic theory—his Poetics (c. 335 BC). Athenian
comedy is conventionally divided into three periods, "Old Comedy", "Middle Comedy", and "New
Comedy". Old Comedy survives today largely in the form of the eleven surviving plays
of Aristophanes, while Middle Comedy is largely lost (preserved only in relatively short fragments in
authors such as Athenaeus of Naucratis). New Comedy is known primarily from the substantial
papyrus fragments of plays by Menander. Aristotle defined comedy as a representation of laughable
people that involves some kind of error or ugliness that does not cause pain or destruction.[18]

Roman theatre[edit]

Roman theatre at Orange, France

Main article: Theatre of ancient Rome

Western theatre developed and expanded considerably under the Romans. The Roman
historian Livy wrote that the Romans first experienced theatre in the 4th century BC, with a
performance by Etruscan actors.[19] Beacham argues that Romans had been familiar with "pre-
theatrical practices" for some time before that recorded contact.[20] The theatre of ancient Rome was
a thriving and diverse art form, ranging from festival performances of street theatre, nude dancing,
and acrobatics, to the staging of Plautus's broadly appealing situation comedies, to the high-style,
verbally elaborate tragedies of Seneca. Although Rome had a native tradition of performance,
the Hellenization of Roman culture in the 3rd century BC had a profound and energizing effect on
Roman theatre and encouraged the development of Latin literature of the highest quality for the
stage.
Following the expansion of the Roman Republic (509–27 BC) into several Greek territories between
270–240 BC, Rome encountered Greek drama.[21] From the later years of the republic and by means
of the Roman Empire (27 BC-476 AD), theatre spread west across Europe, around the
Mediterranean and reached England; Roman theatre was more varied, extensive and sophisticated
than that of any culture before it.[22] While Greek drama continued to be performed throughout the
Roman period, the year 240 BC marks the beginning of regular Roman drama.[21][i] From the
beginning of the empire, however, interest in full-length drama declined in favour of a broader variety
of theatrical entertainments.[23]
The first important works of Roman literature were the tragedies and comedies that Livius
Andronicus wrote from 240 BC.[24] Five years later, Gnaeus Naevius also began to write drama.[24] No
plays from either writer have survived. While both dramatists composed in both genres, Andronicus
was most appreciated for his tragedies and Naevius for his comedies; their successors tended to
specialise in one or the other, which led to a separation of the subsequent development of each type
of drama.[24] By the beginning of the 2nd century BC, drama was firmly established in Rome and
a guild of writers (collegium poetarum) had been formed.[25]
The Roman comedies that have survived are all fabula palliata (comedies based on Greek subjects)
and come from two dramatists: Titus Maccius Plautus (Plautus) and Publius Terentius
Afer (Terence).[26] In re-working the Greek originals, the Roman comic dramatists abolished the role
of the chorus in dividing the drama into episodes and introduced musical accompaniment to
its dialogue (between one-third of the dialogue in the comedies of Plautus and two-thirds in those of
Terence).[27] The action of all scenes is set in the exterior location of a street and its complications
often follow from eavesdropping.[27] Plautus, the more popular of the two, wrote between 205 and 184
BC and twenty of his comedies survive, of which his farces are best known; he was admired for
the wit of his dialogue and his use of a variety of poetic meters.[28] All of the six comedies that
Terence wrote between 166 and 160 BC have survived; the complexity of his plots, in which he often
combined several Greek originals, was sometimes denounced, but his double-plots enabled a
sophisticated presentation of contrasting human behaviour.[28]
No early Roman tragedy survives, though it was highly regarded in its day; historians know of three
early tragedians—Quintus Ennius, Marcus Pacuvius and Lucius Accius.[27] From the time of the
empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic
philosopher Seneca.[29] Nine of Seneca's tragedies survive, all of which are fabula
crepidata (tragedies adapted from Greek originals); his Phaedra, for example, was based
on Euripides' Hippolytus.[30] Historians do not know who wrote the only extant example of the fabula
praetexta (tragedies based on Roman subjects), Octavia, but in former times it was mistakenly
attributed to Seneca due to his appearance as a character in the tragedy.[29]

Transition and early Medieval theatre, 500–1050[edit]

Main article: Medieval theatre
As the Western Roman Empire fell into decay through the 4th and 5th centuries, the seat of Roman
power shifted to Constantinople and the Eastern Roman Empire, today called the Byzantine Empire.
While surviving evidence about Byzantine theatre is slight, existing records show
that mime, pantomime, scenes or recitations from tragedies and comedies, dances, and other
entertainments were very popular. Constantinople had two theatres that were in use as late as the
5th century.[31] However, the true importance of the Byzantines in theatrical history is their
preservation of many classical Greek texts and the compilation of a massive encyclopedia called
the Suda, from which is derived a large amount of contemporary information on Greek theatre.
From the 5th century, Western Europe was plunged into a period of general disorder that lasted
(with a brief period of stability under the Carolingian Empire in the 9th century) until the 10th century.
As such, most organized theatrical activities disappeared in Western Europe. While it seems that
small nomadic bands traveled around Europe throughout the period, performing wherever they could
find an audience, there is no evidence that they produced anything but crude scenes.[32] These
performers were denounced by the Church during the Dark Ages as they were viewed as dangerous
and pagan.
Hrosvitha of Gandersheim, the first dramatist of the post-classical era.

By the Early Middle Ages, churches in Europe began staging dramatized versions of particular
biblical events on specific days of the year. These dramatizations were included in order to vivify
annual celebrations.[33] Symbolic objects and actions – vestments, altars, censers,
and pantomime performed by priests – recalled the events which Christian ritual celebrates. These
were extensive sets of visual signs that could be used to communicate with a largely illiterate
audience. These performances developed into liturgical dramas, the earliest of which is the Whom
do you Seek (Quem-Quaeritis) Easter trope, dating from ca. 925.[33] Liturgical drama was sung
responsively by two groups and did not involve actors impersonating characters. However,
sometime between 965 and 975, Æthelwold of Winchester composed the Regularis Concordia
(Monastic Agreement) which contains a playlet complete with directions for performance.[34]
Hrosvitha (c. 935 – 973), a canoness in northern Germany, wrote six plays modeled on Terence's
comedies but using religious subjects. These six plays – Abraham, Callimachus, Dulcitius,
Gallicanus, Paphnutius, and Sapientia – are the first known plays composed by a female dramatist
and the first identifiable Western dramatic works of the post-classical era.[34] They were first
published in 1501 and had considerable influence on religious and didactic plays of the sixteenth
century. Hrosvitha was followed by Hildegard of Bingen (d. 1179), a Benedictine abbess, who wrote
a Latin musical drama called Ordo Virtutum in 1155.
High and late Medieval theatre, 1050–1500[edit]

Stage drawing from 15th-century vernacular morality play The Castle of Perseverance (as found in the Macro
Manuscript).

Main article: Medieval theatre

As the Viking invasions ceased in the middle of the 11th century, liturgical drama had spread
from Russia to Scandinavia to Italy. Only in Muslim-occupied Iberian Peninsula were liturgical
dramas not presented at all. Despite the large number of liturgical dramas that have survived from
the period, many churches would have only performed one or two per year and a larger number
never performed any at all.[35]
The Feast of Fools was especially important in the development of comedy. The festival inverted the
status of the lesser clergy and allowed them to ridicule their superiors and the routine of church life.
Sometimes plays were staged as part of the occasion and a certain amount
of burlesque and comedy crept into these performances. Although comic episodes had to truly wait
until the separation of drama from the liturgy, the Feast of Fools undoubtedly had a profound effect
on the development of comedy in both religious and secular plays.[36]
Performance of religious plays outside of the church began sometime in the 12th century through a
traditionally accepted process of merging shorter liturgical dramas into longer plays which were then
translated into vernacular and performed by laymen. The Mystery of Adam (1150) gives credence to
this theory as its detailed stage direction suggest that it was staged outdoors. A number of other
plays from the period survive, including La Seinte Resurrection (Norman), The Play of the Magi
Kings (Spanish), and Sponsus (French).
The importance of the High Middle Ages in the development of theatre was
the economic and political changes that led to the formation of guilds and the growth of towns. This
would lead to significant changes in the Late Middle Ages. In the British Isles, plays were produced
in some 127 different towns during the Middle Ages. These vernacular Mystery plays were written in
cycles of a large number of plays: York (48 plays), Chester (24), Wakefield (32) and Unknown (42).
A larger number of plays survive from France and Germany in this period and some type of religious
dramas were performed in nearly every European country in the Late Middle Ages. Many of these
plays contained comedy, devils, villains and clowns.[37]
The majority of actors in these plays were drawn from the local population. For example,
at Valenciennes in 1547, more than 100 roles were assigned to 72 actors.[38] Plays were staged
on pageant wagon stages, which were platforms mounted on wheels used to move scenery. Often
providing their own costumes, amateur performers in England were exclusively male, but other
countries had female performers. The platform stage, which was an unidentified space and not a
specific locale, allowed for abrupt changes in location.
Morality plays emerged as a distinct dramatic form around 1400 and flourished until 1550. The most
interesting morality play is The Castle of Perseverance which depicts mankind's progress from birth
to death. However, the most famous morality play and perhaps best known medieval drama
is Everyman. Everyman receives Death's summons, struggles to escape and finally resigns himself
to necessity. Along the way, he is deserted by Kindred, Goods, and Fellowship – only Good
Deeds goes with him to the grave.
There were also a number of secular performances staged in the Middle Ages, the earliest of which
is The Play of the Greenwood by Adam de la Halle in 1276. It contains satirical scenes
and folk material such as faeries and other supernatural occurrences. Farces also rose dramatically
in popularity after the 13th century. The majority of these plays come from France and Germany and
are similar in tone and form, emphasizing sex and bodily excretions.[39] The best known playwright of
farces is Hans Sachs (1494–1576) who wrote 198 dramatic works. In England, The Second
Shepherds' Play of the Wakefield Cycle is the best known early farce. However, farce did not appear
independently in England until the 16th century with the work of John Heywood (1497–1580).
A significant forerunner of the development of Elizabethan drama was the Chambers of Rhetoric in
the Low Countries.[40] These societies were concerned with poetry, music and drama and held
contests to see which society could compose the best drama in relation to a question posed.
At the end of the Late Middle Ages, professional actors began to appear
in England and Europe. Richard III and Henry VII both maintained small companies of professional
actors. Their plays were performed in the Great Hall of a nobleman's residence, often with a raised
platform at one end for the audience and a "screen" at the other for the actors. Also important
were Mummers' plays, performed during the Christmas season, and court masques. These masques
were especially popular during the reign of Henry VIII who had a House of Revels built and an Office
of Revels established in 1545.[41]
The end of medieval drama came about due to a number of factors, including the weakening power
of the Catholic Church, the Protestant Reformation and the banning of religious plays in many
countries. Elizabeth I forbid all religious plays in 1558 and the great cycle plays had been silenced
by the 1580s. Similarly, religious plays were banned in the Netherlands in 1539, the Papal States in
1547 and in Paris in 1548. The abandonment of these plays destroyed the international theatre that
had thereto existed and forced each country to develop its own form of drama. It also allowed
dramatists to turn to secular subjects and the reviving interest in Greek and Roman theatre provided
them with the perfect opportunity.[41]
Commedia dell'arte & Renaissance[edit]
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The greedy, high-status Pantalone commedia dell'arte masked character.

Main article: Commedia dell'arte

Commedia dell'arte troupes performed lively improvisational playlets across Europe for centuries. It
originated in Italy in the 1560s. Commedia dell'arte was an actor-centred theatre, requiring little
scenery and very few props. Plays did not originate from written drama but from scenarios
called lazzi, which were loose frameworks that provided the situations, complications, and outcome
of the action, around which the actors would improvise. The plays utilised stock characters, which
could be divided into three groups: the lovers, the masters, and the servants. The lovers had
different names and characteristics in most plays and often were the children of the master. The role
of master was normally based on one of three stereotypes: Pantalone, an elderly Venetian
merchant; Dottore, Pantalone's friend or rival, a pedantic doctor or lawyer who acted far more
intelligent than he really was; and Capitano, who was once a lover character, but evolved into
a braggart who boasted of his exploits in love and war, but was often terrifically unskilled in both. He
normally carried a sword and wore a cape and feathered headdress. The servant character
(called zanni) had only one recurring role: Arlecchino (also called Harlequin). He was both cunning
and ignorant, but an accomplished dancer and acrobat. He typically carried a wooden stick with a
split in the middle so it made a loud noise when striking something. This "weapon" gave us the term
"slapstick".
A troupe typically consisted of 13 to 14 members. Most actors were paid by taking a share of the
play's profits roughly equivalent to the size of their role. The style of theatre was in its peak from
1575 to 1650, but even after that time new scenarios were written and performed. The Venetian
playwright Carlo Goldoni wrote a few scenarios starting in 1734, but since he considered the genre
too vulgar, he refined the topics of his own to be more sophisticated. He also wrote several plays
based on real events, in which he included commedia characters.
English Elizabethan theatre[edit]
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A 1596 sketch of a performance in progress on the thrust stage of The Swan, a typical Elizabethan open-roof
playhouse.

Main article: English Renaissance theatre

Renaissance theatre derived from several medieval theatre traditions, such as, the mystery plays
that formed a part of religious festivals in England and other parts of Europe during the Middle Ages.
Other sources include the "morality plays" and the "University drama" that attempted to recreate
Athenian tragedy. The Italian tradition of Commedia dell'arte, as well as the
elaborate masques frequently presented at court, also contributed to the shaping of public theatre.
Since before the reign of Elizabeth I, companies of players were attached to households of leading
aristocrats and performed seasonally in various locations. These became the foundation for the
professional players that performed on the Elizabethan stage. The tours of these players gradually
replaced the performances of the mystery and morality plays by local players, and a 1572 law
eliminated the remaining companies lacking formal patronage by labelling them vagabonds.
The City of London authorities were generally hostile to public performances, but its hostility was
overmatched by the Queen's taste for plays and the Privy Council's support. Theatres sprang up in
suburbs, especially in the liberty of Southwark, accessible across the Thames to city dwellers but
beyond the authority's control. The companies maintained the pretence that their public
performances were mere rehearsals for the frequent performances before the Queen, but while the
latter did grant prestige, the former were the real source of the income for the professional players.
Along with the economics of the profession, the character of the drama changed toward the end of
the period. Under Elizabeth, the drama was a unified expression as far as social class was
concerned: the Court watched the same plays the commoners saw in the public playhouses. With
the development of the private theatres, drama became more oriented toward the tastes and values
of an upper-class audience. By the later part of the reign of Charles I, few new plays were being
written for the public theatres, which sustained themselves on the accumulated works of the
previous decades.[42]
Puritan opposition to the stage (informed by the arguments of the early Church Fathers who had
written screeds against the decadent and violent entertainments of the Romans) argued not only that
the stage in general was pagan, but that any play that represented a religious figure was
inherently idolatrous. In 1642, at the outbreak of the English Civil War, the Protestant authorities
banned the performance of all plays within the city limits of London. A sweeping assault against the
alleged immoralities of the theatre crushed whatever remained in England of the dramatic tradition.

Spanish Golden age theatre[edit]

Main article: Spanish Golden Age theatre

Calderon de la Barca, a key figure in the theatre of the Spanish Golden Age

During its Golden Age, roughly from 1590 to 1681,[43] Spain saw a monumental increase in the
production of live theatre as well as the in importance of theatre within Spanish society. It was an
accessible art form for all participants in Renaissance Spain, being both highly sponsored by the
aristocratic class and highly attended by the lower classes.[44] The volume and variety of Spanish
plays during the Golden Age was unprecedented in the history of world theatre, surpassing, for
example, the dramatic production of the English Renaissance by a factor of at least
four.[43][44][45] Although this volume has been as much a source of criticism as praise for Spanish
Golden Age theatre, for emphasizing quantity before quality,[46] a large number of the 10,000[44] to
30,000[46] plays of this period are still considered masterpieces.[47][48]
Major artists of the period included Lope de Vega, a contemporary of Shakespeare, often, and
contemporaneously, seen his parallel for the Spanish stage,[49] and Calderon de la Barca, inventor of
the zarzuela[50] and Lope's successor as the preeminent Spanish dramatist.[51] Gil Vicente, Lope de
Rueda, and Juan del Encina helped to establish the foundations of Spanish theatre in the mid-
sixteenth centuries,[52][53][54] while Francisco de Rojas Zorrilla and Tirso de Molina made significant
contributions in the later half of the Golden Age.[55][56] Important performers included Lope de Rueda
(previously mentioned among the playwrights) and later Juan Rana.[57][58]
The sources of influence for the emerging national theatre of Spain were as diverse as the theatre
that nation ended up producing. Storytelling traditions originating in Italian Commedia dell'arte[59] and
the uniquely Spanish expression of Western Europe's traveling minstrel
entertainments[60][61] contributed a populist influence on the narratives and the music, respectively, of
early Spanish theatre. Neo-Aristotelian criticism and liturgical dramas, on the other hand, contributed
literary and moralistic perspectives.[62][63] In turn, Spanish Golden Age theatre has dramatically
influenced the theatre of later generations in Europe and throughout the world. Spanish drama had
an immediate and significant impact on the contemporary developments in English Renaissance
theatre.[47] It has also had a lasting impact on theatre throughout the Spanish speaking
world.[64] Additionally, a growing number of works are being translated, increasing the reach of
Spanish Golden Age theatre and strengthening its reputation among critics and theatre patrons.[65]