American Drama in the Age of Film by Zander Brietzke PDF

By Zander Brietzke

ISBN-10: 0817315713

ISBN-13: 9780817315719

Is theater relatively lifeless? Does the theater, as its champions insist, fairly offer a extra intimate adventure than movie? if that is so, how have adjustments in cinematic concepts and applied sciences altered the connection among level and picture? What are the inherent barriers of representing 3-dimensional areas in a two-dimensional one, and vice versa?
 
American Drama within the Age of Film examines the strengths and weaknesses of either the dramatic and cinematic arts to confront the normal arguments within the film-versus-theater debate. utilizing widely recognized diversifications of ten significant performs, Brietzke seeks to focus on the inherent powers of every medium and draw conclusions not only approximately how they fluctuate, yet how they must vary besides. He contrasts either degree and picture productions of, between different works, David Mamet’s Glengarry Glen Ross, Sam Shepard’s True West, Edward Albee’s Who’s terrified of Virginia Woolf, Margaret Edson’s Wit, Tony Kushner’s Angels in America, Tennessee Williams’s Cat on a scorching Tin Roof, Arthur Miller’s Death of a Salesman, and August Wilson’s The Piano Lesson. In analyzing the twin productions of those works, Brietzke reveals that cinema has certainly stolen a lot of theater’s former thunder, by way of making drama extra intimate, and visceral than such a lot reside occasions.
 
But theater remains to be very important and issues significantly, Brietzke argues, notwithstanding for purposes that run counter to a number of the virtues frequently attributed to it as an artwork shape, comparable to intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater by means of hard these universal pieties and providing a brand new severe paradigm, person who champions spectacle and simultaneity because the such a lot, no longer least, vital parts of drama.

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Brook described Artaud’s intentions to create spiritually spectacular events: “a band of dedicated actors and directors who would create out of their own natures an unending succession of violent stage images, bringing about such powerful immediate explosions of human matter that no one would ever again revert to a theatre of anecdote and talk” (53). Artaud sought to create a language in space and in movement to replace the written text of the playwright, and he named this language the mise-en-scène, a term he applied to the physical space of the theater that he said needed to be filled with something much more than the words of the playwright.

The stage actor projects a performance to the witnesses of the event, while the film actor performs for the camera. Michael Caine, an accomplished actor on both stage and screen, offers a useful comparison: “On stage, you have to project your voice or the words will sink without a trace into the third row of seats. On stage, the basic premise is action; you have to sell your attitudes to the audience. In movies, the microphone can always hear you, no matter how softly you speak, no matter where the scene is taking place.

9 Although it is possible to see how Shelley’s play would lend itself to radical production ideas, Artaud discovered that it was quite difficult to discard words altogether and that an established plot provided a structure with which to work. While Brecht agrees with Aristotle that “narrative is the soul of drama” (Brecht on Theatre 183), he argues that the method of construction should be wholly different. He calls his theater the “Epic Theater” because it emphasizes the big picture of the world that the audience can see as opposed to the limited events portrayed in an Aristotelian play.

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American Drama in the Age of Film by Zander Brietzke


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