The emergence of multidisciplinary arts also developed a type of non-verbal parts of, dance or mixed (eg with Jan Lauwers). First appeared with the Dada and Futurist movements, such drama is out of avant-garde theater to become quite popular. Evidenced for example by the success of James mounted with Symphony of beetle even Moliere received four parts (Phoenix plays).
Interpreters of play are the actors; in modern theater the role of director is also important. Indeed, according to interpretation of text he wants to communicate to public, it takes (or sometimes does not resume ...) indications of staging written by the author, and added to his lead the actors.
However, Alfred de Musset, whose plays have been performed on stage as his late romantic drama baffled theater directors, developed the idea of theater to read under the "show in a wheelchair." Playwright Ionesco has established new rules for the theater in his book Notes and against pad. These are based mainly on the deterioration of language in favor of theater of absurd. Another playwright of twentieth century following the rules of Ionesco is Beckett. The two main types of plays are comedy and tragedy.
The origins of later back to antiquity. Greek tragedies played in religious rites in honor of god Dionysus. These ancient themes are included in sixteenth century by the first playwrights as Garnier or Jodelle, and in seventeenth century by authors such as Corneille, who began by writing baroque comedy and tragicomedy, as Le Cid. But gradually imposed in name of verisimilitude, respect for rules specific to classical theater: the rule of decency and the rule of three units.
The liturgical drama, as opposed to classical one, does not adopt the criterion of three Aristotelian unities and is expressed in better shape pictorial representation. If the classical drama staged one done in a linear and in one place, the drama follows the medieval against the hero in all of its age: it is represented, for example, the time when Jesus resurrected Lazarus, but throughout the life of protagonist. Necessarily the scene becomes multiple, created by different scenes aligned and separated from each other by a compartment: the so-called "appointed places."
Finally we have a popular theater, characterized both by the clownish (typical of mimes and farces) and religious. Typical was the "drama mixed", which is distinct from the liturgical drama for contamination of genres and the introduction of first sentences in vernacular. In production of this current are also comedies, there's still a popular pantomime, Dinner Cypriani.
The combination of drama-conflict is often expressed in fields other than strictly theatrical often referred to literary works intended for the stage, talking about their dramatic, or musical works or similarly with the other arts. A classic drama does not have a very precise connotation. Generally usually indicates the dramas of tragic and comic in world greek and latin lived in Athens of fifth century BC Rome until the first century A. D. Depending on the historical period, the classic drama now presents itself as politically / religiously committed and now as a simple fun of upper classes.
Towards the end of nineteenth century (1887) appears a radically different kind, realistic drama, illustrated by Henry Becque and the Theatre Libre of Antoine that fits texts that were not originally intended for theater and s' open to foreign authors. It play Tolstoy, Balzac, but also Giovanni Verga or Turgenev. And unpublished works of famous writers: the Goncourt brothers, Villiers de L'Isle Adam1
Interpreters of play are the actors; in modern theater the role of director is also important. Indeed, according to interpretation of text he wants to communicate to public, it takes (or sometimes does not resume ...) indications of staging written by the author, and added to his lead the actors.
However, Alfred de Musset, whose plays have been performed on stage as his late romantic drama baffled theater directors, developed the idea of theater to read under the "show in a wheelchair." Playwright Ionesco has established new rules for the theater in his book Notes and against pad. These are based mainly on the deterioration of language in favor of theater of absurd. Another playwright of twentieth century following the rules of Ionesco is Beckett. The two main types of plays are comedy and tragedy.
The origins of later back to antiquity. Greek tragedies played in religious rites in honor of god Dionysus. These ancient themes are included in sixteenth century by the first playwrights as Garnier or Jodelle, and in seventeenth century by authors such as Corneille, who began by writing baroque comedy and tragicomedy, as Le Cid. But gradually imposed in name of verisimilitude, respect for rules specific to classical theater: the rule of decency and the rule of three units.
The liturgical drama, as opposed to classical one, does not adopt the criterion of three Aristotelian unities and is expressed in better shape pictorial representation. If the classical drama staged one done in a linear and in one place, the drama follows the medieval against the hero in all of its age: it is represented, for example, the time when Jesus resurrected Lazarus, but throughout the life of protagonist. Necessarily the scene becomes multiple, created by different scenes aligned and separated from each other by a compartment: the so-called "appointed places."
Finally we have a popular theater, characterized both by the clownish (typical of mimes and farces) and religious. Typical was the "drama mixed", which is distinct from the liturgical drama for contamination of genres and the introduction of first sentences in vernacular. In production of this current are also comedies, there's still a popular pantomime, Dinner Cypriani.
The combination of drama-conflict is often expressed in fields other than strictly theatrical often referred to literary works intended for the stage, talking about their dramatic, or musical works or similarly with the other arts. A classic drama does not have a very precise connotation. Generally usually indicates the dramas of tragic and comic in world greek and latin lived in Athens of fifth century BC Rome until the first century A. D. Depending on the historical period, the classic drama now presents itself as politically / religiously committed and now as a simple fun of upper classes.
Towards the end of nineteenth century (1887) appears a radically different kind, realistic drama, illustrated by Henry Becque and the Theatre Libre of Antoine that fits texts that were not originally intended for theater and s' open to foreign authors. It play Tolstoy, Balzac, but also Giovanni Verga or Turgenev. And unpublished works of famous writers: the Goncourt brothers, Villiers de L'Isle Adam1
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