This is not as open as the Grecian stage, though, which I screwing outright gibe before me as it was when it was in use. This is a long outdoor business firm, and I give the gate send off now why the action of the Greek drama was always set in the outdoors as well. The Greeks were making use of the setting they had in the theater itself. I suppose I could tell them that this is not necessary, that they could move the action indoors and take the audience on as well, but that would modification their drama until it would be unrecognizable. The change of drama the Greeks saw was public and communal rather than privately psychological. Our drama has elements of this public and communal, of course, but I try to withdraw more into the psychology of real characters and to make my characters human beings with flaws thus did the Greeks. Their characters were heroes and Gods usually with only one flaw, the fatal flaw that destroys my characters as well. For the Greeks, though, the drama is like their theater-- out-of-door, based on the outward instauration of the characters to the audience.
This is true in the use of masks as well. I see the actors now holding masks before their faces. The actors represent types more than individuals, and the exterior presentation of type is embodied in the mask. In my age, we go in masks as well--not physical ob
why would I want to change this? I could tell the dramatists of this time about what is to come, about the way we would change the theater and break it away from the religious ritual I see present today and toward a incompatible kind of presentation. I can see now how much the theater itself--the building, as it were, on with the various stage techniques we use-- atomic consider 18 reflected in the drama itself. The two atomic number 18 linked, and when we perform a Greek play in my time, we are doing it a disservice by separating it from the place, the ritual, and even the audience for which it was create verbally in the first place. All the productions I feed perpetually seen or even ever imagined are quite different from the reality I see here today.
If I were to change anything, it would be to show how comedy and cataclysm can be mixed together, something the Greeks did not do. They could find real power in a broader view of the human condition. This might necessitate a different world-view than the Greeks now have, but I think it is consonant with their basic views. I believe we in my time have based our society very much on the Greek original and have carried over a large number of philosophical, social, political, and scientific ideas. Aristotle still rules in a number of fields. He wrote about all the knowledge of his time, and I have tried to familiarize myself with all the learning of my time that I can and to include it in my work. In the drama we still honor some of the prescriptions of Aristotle regarding the structure of tragedy and the types of characters who are proper for tragedy and comedy.
jects, but the masks of tragedy and comedy, the masks of the actor in changing into soulfulness else before the audience. The use of real masks in the Greek theater has a different effect. I see that the mask tells the audience immediately what sort of person is speaking. I also see that the shape of the theater and the outdoor setting all generate to shrinking the size of human beings, to
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