By Zander Brietzke

Is theater particularly lifeless? Does the theater, as its champions insist, particularly supply a extra intimate adventure than movie? if that is so, how have alterations in cinematic thoughts and applied sciences altered the connection among degree and movie? What are the inherent barriers 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 normal arguments within the film-versus-theater debate. utilizing widely recognized variations of ten significant performs, Brietzke seeks to spotlight the inherent powers of every medium and draw conclusions not only approximately how they fluctuate, yet how they must range to boot. He contrasts either degree 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 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 so much stay occasions.
But theater remains to be very important and concerns drastically, Brietzke argues, notwithstanding for purposes that run counter to the various virtues normally attributed to it as an paintings shape, similar to intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater by way of demanding these universal pieties and providing a brand new severe paradigm, person who champions spectacle and simultaneity because the so much, no longer least, very important parts of drama.

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At the end of the play, Drummond, having lost the case as a formality, but essentially having won the argument and carried the day, remarks, “The Bible is a book. A good book. But it’s not the only book” (123). In his final gesture, Drummond takes both books in hand, the Bible and The Origin of Species, and balances them as though they were weights upon a scale. Then, he slams them together and tucks them both side by side into his briefcase. There is no need to discard Aristotle. His curse on us is not that his work endures, but rather that it often seems to exist alone.

In The Open Door, he writes, “If all you do is place two people side by side in an empty space, each detail comes into focus. For me, this is the great difference between theatre in its essential form and cinema. With cinema, because of the realistic nature of photography, a person is always in a context, never a person outside a context” (31). An ideal theatrical performance isolates the human figure, Brook intimates, and strips away the trappings of the mundane world. By making the familiar strange, as the Russian formalists said, an audience sees itself anew and emerges from the darkened theater refreshed and ready to meet the harsh light of day.

The importance of drama today pales compared to Renaissance drama of the sixteenth and seventeenth centuries. If Shakespeare represents the zenith of dramatic accomplishment (and few could doubt it), why didn’t subsequent writers copy his art? Instead, the rise of the novel in the eighteenth and nineteenth centuries eclipsed the drama and theater as a dominant form. It is not by accident that a narrative and descriptive genre ascended to prominence at the precise moment that societies were becoming more democratic and less aristocratic and the heterogeneity of society needed full representation.

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