THEORIES OF THEATER. THEORIES OF THEATER. Term Paper ID:24445 Buy This Paper Essay Subject: Overview of dramatic writing & critical theory from classical to modern era. Ideas & art of Aristotle, Sophocles, Pierre Corneille, Goethe, Hegel, Shakespeare.... 10 Pages / 2250 Words 13 sources, 24 Citations, MLA Format 40.00 Paper Abstract: Overview of dramatic writing & critical theory from classical to modern era. Ideas & art of Aristotle, Sophocles, Pierre Corneille, Goethe, Hegel, Shakespeare.
Paper Introduction: The purpose of this research is to examine theatre and drama as forces that attempt to present, explain, or comment by means of artistic forms on human experience in historical and cultural context. The plan of the research will be to show how this force has functioned as dramatic art, as symbolic form and as material for and of aesthetic and social commentary, from the classical to the modern period, with a view toward understanding how the operations of drama and theatre interpenetrate and/or affect the shape of shared belief and experience.
Undoubtedly, the Poetics is the first great and systematic articulation of dramatic theory, so important to subsequent dramatic theory that it is almost a given or a postulate whence virtually all succeeding Western aesthetics proceeds. Or to paraphrase what Whitehead famously says of Plato, one could say that Meanwhile, citing the clash between the feudal andbourgeois worlds and the modern clash of ideologies, Lukacs argues a moregeneral idea, that the modern world view is not shared, as it was inclassical or Renaissance period. Trans.
A Treasury of the Theatre. The quarrel of Le Cid revealsrather more than it might have intended about the cultural priorities ofneoclassical France. Subsequent generations of Western drama and criticism can beinterpreted as strategies for explaining or commenting on culture as bothcontent and as context of immediate human experience. reflective facultycommands them and lifts them above that which their condition and definitepurpose would make them, so that they are all the while as it were forcedby the misfortune of circumstances and the obstacles of their position intodoing that which they accomplish" (Hegel 216). Ed.
European Theories of the Drama, with a Supplement on the American Drama. Because the representation of action is achievedthrough a consistency and concentration of character and incident, andbecause the subject matter has weight, there is an interdependence of craftand aesthetic conception, as well as a confidence that the reader/spectatorof the play is engaged by the issues and characters at stake. The historical perspective, however, recognizes that Renaissancethought and dramatic art entailed both rediscovery of and departure from orexperimentation with ancient models.
John Gassner. "The Theatre of Cruelty, First and Second Manifestos." Trans. . The Cid.
Ed. Indeed, reversal and recognition occur at the same moment, thus also inciting pity, fear, and catastrophe at the same moment, specifically, when the kingdiscovers the source of the plague (himself), that he had killed his fatherafter all, that he has taken his mother as a wife.
1, The Comedies. Clark. Whatever intimate acquaintance with universalitySchlegel might have hoped for in real-life society remains elusive, howevermuch aesthetic experience is shared.
According to Goethe,"The French poets have endeavored to follow most rigidly the laws of thethree unities, but they sin against comprehensibility, inasmuch as theysolve a dramatic law, not dramatically, but by narration" (Goethe 272). Anne and Henry Paolucci. . The Germans' preference forexperimentation has the effect of reformulating ancient classical discourseof dramatic structure and definition to accommodate an aesthetic consistentwith Enlightenment and Romantic strands of thought as forces of history oftheir own.
Clark. "The most effective form of discovery is that which isaccompanied by reversals, like the one in Oedipus" (Aristotle 46).
Barrett H. Ed. Once made clear, of course, they darken immediately. Over the long haul and in general(even in France), such an articulation appears to have won the war ofideas, even though the details vary and even though, as Lukacs sensiblypoints out (425), the bourgeois response to (and triumph over) Romanticismfostered modern drama as bourgeois drama, with mixed results for thepersistent and increasingly complex encounter of ideas of what constitutesart, drama, aesthetics. Vol.
"Conversations" [excerpt]. Barrett H. Vol. New York: Crown Publishers Inc.
, 1965. 5 8-57.Sophocles.
Eric Bentley. Ed. Viola's predicament of concealment has two counterpoints:the latent romance between Sir Toby and Maria, which does not flower untilOlivia marries Sebastian, and the slapstick fate of Malvolio, whose thick-skulled inability to decode a practical joke and whose determination to berevenged on everybody in Olivia's household suggest nothing so much as asinister underside of self-interested romance that makes him deserving ofthe disagreeable fate that befalls him.
John Oxenford. inasmuch as foreigners who may see this precious masterpiece. Clark. Ed. Potter, 1978.
Nor is the test of moderation in the play easilymet, for the hero marries the daughter of a man he kills. A.
L. 89-91.Corneille, Pierre.
425-45 .Schlegel, August Wilhelm. The Theory of the Modern Stage: An Introduction to Modern Theatre and Drama. Clark.
Wallace Fowlie. "Some Ways of Trating Tragedy According to Probability or Necessity." Trans. P.
N. "First Discourse on the Uses and Elements of Dramatic Poetry." Trans. "Preface to Cromwell." Trans.
33-51. All of this is consistent with a self-conscious break fromhistorical aesthetic traditions. How the quarrel would be resolvedhad something to do with how the French perceived themselves asparticipants in the civil society. John Gassner and Ralph G. 357-7 .
Lukacs, George. European Theories of the Drama, with a Supplement on the American Drama. Ed. For example, whereas Aristotle argues the virtues of compressionof incident and feeling in tragedy, Schlegel describes the virtues ofselectivity and consistency in the art of the poet (285).
New York: Crown Publishers Inc., 1965. The implicit analogy is to theincreasing rationalization of Greek society itself, from primitive groupbehavior to the structures of culture and civil society with whichAristotle himself was sufficiently acquainted to undertake a systematicinvestigation of its various attributes. Evenas the shape of so much external experience is fully determined--by capital(431)--Lukacs is describing in aesthetic terms the Marxist idea ofalienation, noting the highly structured quality of real life, which tendsto drive aesthetic spirit more deeply inside the individual, paradoxicallymissing the vital center of being, which cannot realize itself by engagingwith the external world. European Theories of the Drama, with a Supplement on the American Drama.
New York: Crown Publishers Inc., 1965. Consider the quarrel of The Cid, whichentails Poetics footnotes but highlights in ways unique to the neoclassicalperiod the interpenetration between what could be called the artifacts andthe axiology of art. Both Aristotleand Schlegel see the portrayal of men in action as foundational to drama, but whereas Aristotle systematically parses tragedy into plot, character, thought, diction, spectacle, and song, Schlegel defines drama in terms ofthe poetical and the theatrical.
Or to paraphrase what Whitehead famously saysof Plato, one could say that all Western dramatic criticism is a series offootnotes to Aristotle. Theoverrefinement of form so repels Goethe that he concludes that "it is atbottom better to make a confused piece than a cold one" (Goethe 283).Hegel, meanwhile, faults the French for making characters out ofdialectical arguments (216) to arrive at plot conflict. Vol.
Rowse. Equally, the fact of thequarrel is evidence of serious axiological engagement on the part of therecipients and transmitters of culture. . As Cesario she points Orsino's own folly in sending a surrogateto woo Olivia: "We men may say more, swear more: but indeed / Our shows aremore than will; for still we prove / Much in our vows, but little in ourlove" (II. v). There are also strongcontinuities of thought across generations, such that, in each succeedingage, current drama and commentary can be seen as relevant to--even whendeparting from--axiological origins.
. Barrett H. What is important about Aristotle's judgment of Oedipus as a work ofart is the "vivid" emotional and psychological impact of its integration ofnarrative design and idea.
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