A play is a piece to be played during a theatrical performance, mostly written according to rules of dramatic literature. For this purpose, the text consists mainly of dialogues between the characters, and, where appropriate, information on the staging (Phoenix plays). This is in addition to stage directions: setting, geographical location, light and sound environment, movement of characters (with borderline cases because some parts are made without verbal dialogue, eg Acts without Words by Samuel Beckett).
The current scholarly and secular seek to perpetuate as much as possible the worship of ancient literature; between its forms are the "mime-friendly patrician" and "elegiac comedy, " both written in Latin and invoice more literary than dramatic (in fact were read in small circles).
The religious currents - to remedy the corruption of morals - trying to reconcile the religious spirit of new with the old pagan forms. The result is the sacred representation: it traces its birth holy homily, when it becomes dialogic educational purposes and exhortation. A more valid argument traces the passion play in development of Roman liturgy, which is already in its pure form is filled celebration of dramatic elements (the sacrifice of Mass as a symbolic representation, in form of dialogue between the celebrant and assistants).
A topic can have tragic drama or comedy, depending on the situations. In sense of common use instead, we tend to designate by this term painful events or life problems, or other events of tragic. Play can be represented by different types of media: live entertainment, film and television.
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.
They are representations of an occasional nature, consisting of pseudo-ecclesiastical procession led by a boy dressed as a bishop; The procession from the church up to episcopate, in which the clergy and / or the true bishop blessed are fit and ridiculous parody. The bourgeois drama is a theatrical composition representing the characters of small and middle-class or wealthy classes citizens but do not belong to nobility, and describes his daily life, the trials and tribulations, aspirations. It developed in eighteenth and nineteenth centuries.
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
The current scholarly and secular seek to perpetuate as much as possible the worship of ancient literature; between its forms are the "mime-friendly patrician" and "elegiac comedy, " both written in Latin and invoice more literary than dramatic (in fact were read in small circles).
The religious currents - to remedy the corruption of morals - trying to reconcile the religious spirit of new with the old pagan forms. The result is the sacred representation: it traces its birth holy homily, when it becomes dialogic educational purposes and exhortation. A more valid argument traces the passion play in development of Roman liturgy, which is already in its pure form is filled celebration of dramatic elements (the sacrifice of Mass as a symbolic representation, in form of dialogue between the celebrant and assistants).
A topic can have tragic drama or comedy, depending on the situations. In sense of common use instead, we tend to designate by this term painful events or life problems, or other events of tragic. Play can be represented by different types of media: live entertainment, film and television.
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.
They are representations of an occasional nature, consisting of pseudo-ecclesiastical procession led by a boy dressed as a bishop; The procession from the church up to episcopate, in which the clergy and / or the true bishop blessed are fit and ridiculous parody. The bourgeois drama is a theatrical composition representing the characters of small and middle-class or wealthy classes citizens but do not belong to nobility, and describes his daily life, the trials and tribulations, aspirations. It developed in eighteenth and nineteenth centuries.
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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