The machines were used to create vertical and horizontal movements which had not been done before. In other words, a god could be pictured using the machine as floating down onto the stage, or boats moving across it. Night or dawn could appear, or ghosts (Lawrenson 92). Most of these machine-plays were produced at the Theatre du Marais. There is a difference here, too. The French machine plays reached the public, whereas the English masques of the early century were performed mainly for royalty. Certainly the stage sets for court ballets and opera were more elaborate and special than the public designs since they were subsidized by the royal coffers.
Both English and French theatre took over the new Italian techniques for changing scenery. The French theatre abandoned triangular prisms used in conjunction with painted backdrops. At the beginning, these were painted simultaneously and dropped over or pulled back to reveal another scene (Lawrenson 85). The scenes or the built stage had all kinds of buildings: castles, fortresses, temples, palaces, mountains, prisons, gardens, terraces, tombs, forests, grottoes, town squares, landscapes, and street scenes were included. Lighting effects were used to indicate day and night, whereas in the English theatre lighting was typically done through natural light, windows, and positioning of the stage in addition to candles (see Graves). Later under the influence of Italian designers like Torelli, the use of flats and prisms allowed the scenery to change (Brockett and Hildy 197). This was the development of the flat wings that slid in grooves in the Baroque theatre. It was a "scenery changing system that differed from the angled wings and revolving wooden prisms . . . This new scenery consisted of a series of flat batten frames, covered with painted canvas and sliding sideways in grooves" (Berthold 420). Different aspects of the wings could be displayed to the audience, giving the impression of a scene change. This innovation increased the spectacle since changes in scenery appeared as if magically.
In England, the same technique of...
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The acculturation model developed by Schumann (1978) consists of a taxonomy of variables that were developed based on the concept that both social (group) and affective (individual) variables are the primary causative variables as shown in Table __ below. In this regard, the term "acculturation" is used to refer to the learner's positive identification with, and hence social and psychological integration with, the target language group. For instance, Schumann
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