Download PDF by Zander Brietzke: American Drama in the Age of Film

February 2, 2018 | Theater | By admin | 0 Comments

By Zander Brietzke

ISBN-10: 0817315713

ISBN-13: 9780817315719

Is theater quite lifeless? Does the theater, as its champions insist, fairly supply a extra intimate event than movie? if this is the case, how have adjustments in cinematic strategies and applied sciences altered the connection among degree and picture? What are the inherent obstacles of representing 3-dimensional 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 traditional arguments within the film-versus-theater debate. utilizing widely recognized diversifications of ten significant performs, Brietzke seeks to focus on the inherent powers of every medium and draw conclusions not only approximately how they vary, yet how they must range in addition. He contrasts either degree and movie productions of, between different works, David Mamet’s Glengarry Glen Ross, Sam Shepard’s True West, Edward Albee’s Who’s fearful of Virginia Woolf, Margaret Edson’s Wit, Tony Kushner’s Angels in America, Tennessee Williams’s Cat on a scorching Tin Roof, Arthur Miller’s Death of a Salesman, and August Wilson’s The Piano Lesson. In examining 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 stay occasions.
But theater continues to be important and issues vastly, Brietzke argues, notwithstanding for purposes that run counter to the various virtues ordinarily attributed to it as an paintings shape, equivalent to intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater via difficult these universal pieties and delivering 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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The authorities fear that laughter, the goal of comedy, frees humankind from the fear of God and undermines the authority of the treatise on tragedy. Eco, the Italian semiotician and author of such academic works as The Open Work, which advocated ambiguity as a virtue of texts, wrote a novel about the dangers of curtailing knowledge and the threat of univocal authority. At the same time, the novel functions as a murder mystery and reveals the discovery of Aristotle on comedy near the very end! Thus, Eco’s book adheres faithfully to Aristotelian plotting!

It must be hard to duplicate real life, such applause seems to suggest. In film, that which looks lifelike receives no approbation. Instead, viewers check to see whether or not they have been there! The worldly spectator proudly announces—sometimes impressively, but more often obnoxiously—the exact location of a particular shot. Film takes place in the world; theater is of the world. I saw Three Days of the Condor again recently on cable TV late at night and bolted upright when I discovered that the CIA office in the movie is located high in the World Trade Center.

My chief complaint against theater arises when it tries to present subject matter in the same way as the other media and can’t do it as well. 10 / Chapter 1 “For the theater to survive the 21st century,” lamented critic Clive Barnes of the New York Post, “it will have to do what it singularly failed to do in the 20th century: take note of its competitors, and not attempt to do badly what they can do better” (“Theater Must Do”). Film and television are more “worldly” media than theater and are therefore better equipped to present realistic portrayals of human lives and events.

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American Drama in the Age of Film by Zander Brietzke

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