Because darker color have more visual weight than lighter colors, they should be put at the lower part of designs.
In designs, darker colors are seen first and they carry more visual weight, in order to create balance in a design work, such colors should be put at the lower part of the design.<span />
Los mitos de Medea, y Eros y Psique son del tipo teogónicos porque describen el origen de los dioses y sus vidas.
Los mitos son narraciones que se caracterizan por relatar el origen de
- Las ciudades
- La tierra
- La vida
- Los dioses
- Los valores
En el caso de los mitos de Medea, y Eros y Psique son mitos originados en la Antigua Grecia relacionados con el origen y la vida los dioses de esa época. En ellos se evocan distintos hechos heroicos y fantásticos relacionados con los dioses.
Por lo anterior, la categoría correcta para clasificar estos mitos es mitos teogónicos.
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Answer:
Underlying the theatrical developments of the 19th century, and in many cases inspiring them, were the social upheavals that followed the French Revolution. Throughout Europe the middle class took over the theatres and effected changes in repertoire, style, and decorum. In those countries that experienced revolutionary change or failure, national theatres were founded to give expression to the views and values of the middle class, whose aspirations in these cases coincided with a more general movement of national liberation. In western Europe a different pattern of development emerged, varying considerably in each country but having the unified features of a demand for “realism” on the stage, which meant a faithful reflection of the life-style and domestic surroundings of the rising class in both its tragic and its comic aspects; an adjunct to this development was the demand for increased decorum and cleanliness in the auditorium.
In England, where the Industrial Revolution was more advanced than in the other European countries, the middle class had to struggle for its own theatres against the entrenched power of the two patent houses (licensed by the Crown), Drury Lane and Covent Garden, which had enjoyed an almost total monopoly of dramatic theatre since 1660. As early as 1789, attempts were made to evade the legal restrictions on building new theatres. The Reform Bill of 1832, which enfranchised the propertied middle class and established its political power, led to the Theatres Act of 1843, which gave London a “free theatre.” The expected flood of new theatre buildings did not occur, and no major building took place for 16 years. This is probably because there were already sufficient illegal theatres in operation when the act was passed. The boulevard theatres of Paris experienced less trouble in establishing themselves. The rise of the middle-class theatres caused the decline of both the patent houses in London and the Comédie-Française—the national theatre of France. After much political struggle, centring particularly around censorship, the Comédie-Française, unable to compete with the boulevard theatres, capitulated and presented the plays of the new school for the new audiences.
As the new class came into the theatres, the theatres were cleaned up. Samuel Phelps at The Sadler’s Wells Theatre instituted audience controls that drove out the old audience and paved the way for respectability. The Bancrofts, as representative as any of the new movement, took over the run-down Prince of Wales’ Theatre, cleaned up the auditorium, and placed antimacassars on the seats. They also dropped the melodrama and attracted a wide audience with the social comedies of Tom Robertson, making a considerable fortune in the process.
Explanation:
