Bardolatry has effectively clouded many eyes from the greatest truth behind Shakespeare's plays: they are dramatic works written by a talented playwright. The many historical, political, and economic circumstances surrounding the writing of Shakespeare's plays make it difficult to believe he wrote the works with the intent to establish a school of followers. The only playwright/writer to inspire reverence in Shakespeare's day was Ben Jonson, and it is therefore likely Shakespeare died neither knowing, nor caring about the ways in which his works would be valued by future generations (Shoenbaum 60). Furthermore, the way in which Shakespeare's work surfaced in print, first with the various quartos and then finally in the First Folio after his death, does not evoke an emphasis on posterity. Had Shakespeare's good friends John Heminges and Henry Condell not collected the works for that Folio, Shakespeare's works may have never survived the ages at all (Wells and Taylor 34).
New York: HarperCollins College Publishers, 1995. 514-517. Guerin, Wilfred L., Earle Labor, Lee Morgan, Jeanne C. Reesman, and John R. Willingham. A Handbook of Critical Approaches to Literature. New York: Oxford University Press, 1999.
New York: Macmilllan College Publishing Company 1994. Shaw, Leroy, "Time and the Structure of Hermann Hesse's Siddhartha", Symposium 9 (1957): 204-224. Timpe, Eugene F. "Hesse's Siddhartha and the Bhagavad Gita". Comparative Literature, V.22 No.4 , 1970.
The audience has no choice but to leave with the rapidly fading memory of their dramatic stimulation and return to the underwhelming reality that awaits them outside of the theatre.” "The task of epic theatre, Brecht believes, is not so much to develop actions as to represent conditions. But to ërepresentí does not here signify ëreproduceí in the sensed used by theoreticians of Naturalism. Rather, the first point at issue is to uncover those conditions. (One could just as well say: to make them strange (Benjamin 1966, 18-9) "The art of epic theatre consists in arousing astonishment rather than EMPATHY." (Benjamin 1966,16) “ ‘Theatre’ consists in this; in making live representations of reported or invented happenings between human beings and doing so with a view to entertainment.
I understand part of the play as the words rail at me from the page as vehemently as Lear rails at the heavens. Yet there is an aura of ambiguity that leaves the faintest trace of the text's essential truth, one that is alternately shrouded and then unveiled in the play's language. Despite my interpretive performance anxiety, reading the play is not futile. Meaning can be derived from Shakespeare's text, but it means looking past the obvious. When King Lear's characters say "nothing" over and over, neither they nor Shakespeare himself really mean nothing, for in King Lear, every word drips with significance.
The essay Rosencrantz and Guildensternare Dead: Theater of Criticism by Normand Berlin draws attention to the fact that Stoppard who was once a drama critic, writes from the critical perspective. When engaged in a non-reflexive play, we are too busy following the movement of time and events to really judge the play, but Berlin writes "In the act of seeing Rosencrantz and Guildenstern Are Dead, however, our critical faculty is not subdued. We are always observing the characters and are not ourselves participating...we are forced to contemplate the frozen state, the status-quo, of the characters who carry their Shakespearean fates with them.". The grand illusion of theater is the acceptance of the on-stage fantasy as real and existing separate from the people who are actually performing it. Watching theater had classically been an experience separate from the experience of analyzing the piece.
The Tempest is not one of these works. This story realizes that it is impossible to have the good aspect of human nature without the bad. Caliban helps the reader realize that the difference between good and bad people is the way in which the hidden dark side manifests itself to the outside world. Ostensibly, The Tempest is a play based around Prospero: his power to punish versus his power to forgive. ?Many scholars believe that this is a semi-autobiographical work, written towards the end of Shakespeare's literary career?
It is the creation of art without the intention of logial comprehensibility (Brusca, 2012). It points out less to art history but rather leans more towards historical change, which relates more to Avant-garde (Jorgensen, D.2011). Surrealism sought to access the sub-conscious and translate it into art. In Surrealist art we get a sense of super-reality in which depicted scene make no sense (Oxford Art Online, 2014). Surrealism includes an abun... ... middle of paper ... ...ne created by the horizon line, they are free in the space created by the perspective of the image.