Download e-book for kindle: American Drama in the Age of Film by Zander Brietzke

By Zander Brietzke

ISBN-10: 0817315713

ISBN-13: 9780817315719

Is theater relatively useless? Does the theater, as its champions insist, particularly supply a extra intimate adventure than movie? if this is the case, how have alterations in cinematic suggestions and applied sciences altered the connection among level and picture? What are the inherent barriers of representing three-d 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 well known diversifications of ten significant performs, Brietzke seeks to focus on the inherent powers of every medium and draw conclusions not only approximately how they range, yet how they should vary to boot. He contrasts either level and picture productions of, between different works, David Mamet’s Glengarry Glen Ross, Sam Shepard’s True West, Edward Albee’s Who’s frightened of Virginia Woolf, Margaret Edson’s Wit, Tony Kushner’s Angels in America, Tennessee Williams’s Cat on a sizzling 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 concerns significantly, Brietzke argues, notwithstanding for purposes that run counter to a few of the virtues typically attributed to it as an paintings shape, corresponding to intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater by means of not easy these universal pieties and providing a brand new severe paradigm, person who champions spectacle and simultaneity because the so much, now not least, vital components of drama.

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Download e-book for kindle: American Drama in the Age of Film by Zander Brietzke

Is theater quite lifeless? Does the theater, as its champions insist, quite supply a extra intimate adventure than movie? if this is the case, how have adjustments in cinematic suggestions and applied sciences altered the connection among degree and picture? What are the inherent obstacles of representing third-dimensional areas in a two-dimensional one, and vice versa?

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Instead, statements such as these by actor William Hurt fill the pages: “The mystery opened up through the theater is the imagination itself. That’s the hero” (63). What does this mean? It suggests, maybe, that Hurt valorizes the relative poverty of theater compared to film and celebrates the suggestiveness of the theatrical medium over the realism of cinema. That’s only speculation. The fuzziness surrounding all the above statements begs the question whether there really is something special at the heart of the theatrical experience.

Each one has to follow in sequence and be presented in its entirety. A cinematic treatment, on the other hand, can juggle four versions by cutting back and forth between each one. Similarly, while many films alter the temporal sequence of events between past, present, and even future, most plays adhere to chronological order. In part this is due to the fact that theater seems to need a building of events to achieve desired effects (such as catharsis), but more importantly it is because theater, once moving in a single temporal direction, finds it very difficult to reverse directions.

Gest, a key term in Brecht’s visual theater, pertains to the physical, psychological, social, and economic relations between human beings. He asserts that “the grouping of the characters on the stage and the movements of the groups must be such that the necessary beauty is attained above all by the elegance with which the material conveying that gest is set out and laid bare to the understanding of the audience” (200–201). In the new scientific age of learning, according to Brecht, pleasure comes from understanding, but understanding is possible only in a theater that presents a dramatic situation as clearly as it can.

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