The Theatre Unbound: A Plea on Behald of the Ill-used: the Actor, the Stage and the SpectatorC. Palmer, 1923 - 118 sider |
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The Theatre Unbound: A Plea on Behalf of the Ill-used: the Actor, the Stage ... Alexander Bakshy Uten tilgangsbegrensning - 1923 |
The Theatre Unbound: A Plea on Behalf of the Ill-used: the Actor, the Stage ... Alexander Bakshy Ingen forhåndsvisning tilgjengelig - 1923 |
Vanlige uttrykk og setninger
actor actual æsthete æsthetic attitude æsthetic experience æsthetic reality Albert Chevalier ancient Greece appear appreciation apron stage arouse Art for Art's Art's sake artist attempt audience auditorium character choregraphic acting conception contemplation conventional create creative disguise the stage Doctor's Dilemma dramatic action dramatic art dramatic spectacle dramatist Drury Lane earnest effect elements Elizabethan Elizabethan theatre emotion English theatre essential Everyman Theatre existing expression fact feel film Greek ideal illusion illusionistic imagination independent instance interest kinema latter London London Pavilion make-believe masses means medium melodrama merely mimic acting modern theatre Moscovitch Moscow Art Theatre mounting music-hall mystery play naturalistic nature object obviously ordinary painted performance picture playgoers plot presentational method principle produce proscenium arch purely theatrical qualities realistic Reinhardt religious representational scene scenery sense Shaw Shaw's plays Skin Game spectator spirit symbolical theatre building theatrical art thing tion to-day traditions vital art
Populære avsnitt
Side 18 - B s and stage psychology of action, though not of that nauseating variety which has been stereotyped by talentless actors. The staginess of the play .will mean an exhibition of life in terms of the theatre, ie, neither the dramatic action without the spectacle, nor the spectacle without the dramatic action, but the two merged in the dramatic show. Nor will the playwright, in showing or presenting his drama, be bound by considerations of realistic, psychological, or some supernatural truth. His aim...
Side 92 - Or it can be treated as an image of life existing in the theatre and finding its expression in the forms of the theatre, which other form may be called " presentational." The representational form can be used for portraying life in its various aspects such as the naturalistic, the conventional and the symbolic aspects. *But, whatever the aspect of life, its reproduction in the theatre is always based on creating the illusion that it represents a world entirely different from that in which the audience...
Side 3 - The Theatre Unbound: A plea on behalf of the ill-used: the actor, the stage and the spectator: also an appeal to the dramatist that he may assist these to their freedom and thus obtain his own salvation.
Side 100 - ... the legitimate stage, the painted sea is a sea and not a sign for a sea, much less a back-cloth, and the audience seeing an actor dipping a towel in the painted water is expected to believe that the towel has actually been made wet. The illustration just given brings us to the very crux of our problem. Should the play appear as something existing outside the theatre ? Or as a make-believe world, which derives its reality not from its power of deceiving the spectator but from its frank recognition...
Side 107 - Obviously, only those plays in which the life portrayed, whether real or imaginative, is expressed in the form of theatrical makebelieve. It would be a mistake, however, to think that the latter is confined only to the traditional stage plots and types. Many of these have ceased to be universal, fundamentally human, and have become merely historical curios of the theatre, mere faint and colourless theatrical echoes of a life which no longer exists. Were the theatrical make-believe here advocated...
Side 92 - The spectacle can be treated as a true image of life existing outside, and quite independently of the theatre, which form may be called " representational." Or it can be treated as an image of life existing in the theatre and finding its expression in the forms of the theatre, which other form may be called
Side 96 - The object remains that of creating an illusion of separate world, and the stage and the auditorium are necessarily treated as something that has to be disguised or overcome. Now, is the representational form of spectacle art or not ? I think it is art, but only a forced, impure, and incomplete one. It is art because a vision of some world, provided it is significant in itself, can be experienced by the spectator as an independent reality, which is the essential characteristic of aesthetic experience.
Side 17 - Performance," now so unrecognisable in its ponderous representational garb, will appear in its divine nakedness. No longer will it be a picture of events as these are shaped in some real or imaginary world. It will itself be an event, but an event in the life of the theatre, a happening in that real world which is a gathering of actors and spectators come together, the first to practise, and the second to watch, the art of undisguised and glorying make-believe.
Side 18 - Nor will the playwright, in showing or presenting his drama, be bound by considerations of realistic, psychological, or some supernatural truth. His aim will be dramatic truth,, and, in bodying it forth on the stage, he will be free to treat his material — the elements of human character and action — in any fashion he may choose so long as his convention is made intelligible, is theatrical in its nature, and lays no claim to be anything but a method of presentation.
Side 94 - ... basis. To take the naturalistic method first, we see that the attempt to give an exact replica of life as it exists outside the theatre can have but one effect, namely, the creation of an illusion that the picture of life on the stage is something entirely self-complete and independent. It is realised, of course, that the very fact of showing something to the audience who must be in a position to see, to hear, and to understand it, imposes certain limitations on the development of plot, on acting,...