Watching theater had classically been an experience separate from the experience of analyzing the piece. In Rosencrantz and Guildenstern are Dead, the author keeps us hovering between the two states, we are at once participating in the fantasy but ... ... middle of paper ... ...an enterprise underway to create a video game about how to make enjoyable video games. Summation, Rosencrantz and Guildenstern are Dead is a ground breaking piece of self-reflexive theater because it presents the ideas of a critical essay in the form of a humorous play. Though many plays had come before it with the intention of subverting the traditions of plot-centered drama, Stoppard's piece does so with a clear message about the nature of theater by invoking classic tragedies and the post-modernists. The essential "joke" of the play is "wouldn't it be funny if two of the existential tramps present in many modern plays have to try and come to terms with the reality of being in another, more famous play".
Cardullo, B. (2011). Richard Gilman, American Theater Critic as Appreciation. Sewanee Review, 119(2), 288-295.
Garrick himself does not begin this movement towards virtue, but simply accepts the changes present. In 1698, Jeremy Collier wrote A Short View of the Immortality and Profaneness of the English Stage. This piece strongly attacks the current conditions of the theater and the various "immoral" works by certain authors currently published. The Longman Anthology of British Literature writes, "by portraying wickedness in ways that give delight, [Jeremy Collier] argued contemporary plays cultivated in their audiences the vices of their characters" (2270 Longman Anthology of British Literature). These authors include such notable minds as John Dryden, William Congreve and William Wycherley.
William Shakespeare uses his plays not only to entertain the audience, but also to push the audience toward self-evaluation. The brilliance of Shakespeare is that his plays may be interpreted in different ways. The Tempest is not simply a fictional story meant to entertain the audience, but also a complete figurative narrative meant to mirror the art of the theatre. In this play each character represents a significant part in the alternate interpretation of the narrative. Examination of specific characters and their corresponding role in the theatrical world encourages a deeper understanding of self-reflexivity of The Tempest; which highlights William Shakespeare’s struggle to relinquish his art.
Life reflects the theatre just as the theatre reflects life. Furthermore, when taken seriously, great theatre can change its audience. For this reason, Shakespeare seeks to make viewing a conscious act. The full benefit of the theatrical experience is felt only when the auditor recognizes his role. Clearly, in Shakespeare’s view, life is very much like a play.
However, I realized that this would have been an extremely subjective task that could have lead to some superficial comparisons. Consequently, rather than looking at the response, I decided to focus on the methodology behind the creation of these genres. More specifically, I hope to create a play that involves the advantageous aspects of both. This lead me to research Verbatim Theatre which mutually involves playwriting and interviewing. Playwrights for Verbatim Theatre dramatize information provided through interviews with those involved in a particular event.
I will look at Brecht’s theory of Epic theatre, tracing the beginnings of this style and looking at the influences that may have helped to form it. To get a clear view of what Epic theatre is like I will compare it to dramatic theatre, which Brecht did himself, in regard to how the audience reacts to it. I will examine Brecht’s theory of using Montage and the effect that he intended to have on the audience. I will consider the origination of Verfremdungseffekt and how this was not an original idea of Brecht’s but something that he identified with because it supported his ideas. Geste was the technique that Brecht wanted actors to use when portraying a character, I will examine what geste is and what may have influenced Brecht to use it.
However, in coming up with the paper, I have struggled in an attempt to evaluate the critic thought and stylistic devices employed in the play “Macbeth” written by Shakespeare. I am aware that the two should fit seamlessly into the section but have a feeling that the critics have concentrated on exploring the success of the play towards the compelling portrayal of the themes explored. I do not feel that I have adequately pointed out this bias in the literature review and wish I had taken more time exploring the subject in the
He often doesn’t mention the date or the theatre for which a specific play was written. While this is a disadvantage, the source still consistently creates such a detailed overview of what the original Globe Theatre design consisted of that it is difficult to argue that the majority of Adams’ case is not valid.
Instead of discussing when Shakespeare got married or explaining his life in relation to his works, Wells delves into the personality of the famous playwright. Stanley Wells encourages the reader of “What Was He Really Like?” to look at William Shakespeare in a new light. Stanley Wells’ main objective in writing “What Was He Really Like?” was to examine Shakespeare internally. Instead of aimlessly trying to find unlikely links between Shakespeare’s life and his plays, Wells is curious about his personality. Although Wells does point out that the externals of Shakespeare’s life are important, he believes that exploring Shakespeare’s personality can help readers to better understand the playwright’s work.