Academic literature on the topic 'Theatrical realism'
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Journal articles on the topic "Theatrical realism"
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Anan, Nobuko. "Theatrical realism in manga: Performativity of gender in Minako Narita's Alien Street." Journal of Adaptation in Film & Performance 12, no. 3 (December 1, 2019): 133–41. http://dx.doi.org/10.1386/jafp_00002_1.
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Abstract This article examines different conceptions of realism in theatre and manga by focusing on gender performance in Minako Narita's manga, Alien Street (1980‐84). It depicts a male actor who plays female roles in realist theatre productions. I argue that the believability of this gender performance stems in part from the conventions of manga realism, where non-realistic signs are used to mark gender distinctions. However, in contrast to these conventions, this manga also highlights the performative nature of gender by revealing how a realist stage forces the performers to cite and repeat the conventional gendered practices. In doing so, Alien Street mixes manga and theatre realism and complicates our understanding of gender conventions.
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Sehat, David. "Gender and Theatrical Realism: The Problem of Clyde Fitch." Journal of the Gilded Age and Progressive Era 7, no. 3 (July 2008): 325–52. http://dx.doi.org/10.1017/s1537781400000748.
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Clyde Fitch was the most famous playwright of the early twentieth century, but today no one studies him. The disconnect between his fame in his lifetime and his obscurity after death points to a major historiographical problem, a problem that began in Fitch's own day. Fitch's numerous contemporary critics, many of whom were early proponents of theatrical realism, criticized his plays as effeminate, bound by the narrow conventions of the legitimate theater that relied on women as its predominant patrons. By contrast, realism, as the critics under-stood it, was masculine, bringing the gritty reality of what contemporary commentators regarded as the real world to the stage. Criticizing Fitch's feminine dramatic sensibilities became a way of prodding him toward a strained realism in his own plays. Fitch's story illustrates the close connection of realism to the gendered hierarchy that became an unconscious element in the determination of literary value. In dismissing Fitch as worthy of scholarly attention, current theatrical historians have followed Fitch's contemporary critics. Even as they have eviscerated the gendered standards of the early twentieth century, present-day scholars have retained the critical judgments and the generic categories that the gendered standards produced.
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Ahmed, Shokhan Rasool. "A Comparative Study of Modern Theatrical Technicalities in The Glass Menagerie and The Cherry Orchard." Journal of University of Raparin 8, no. 2 (September 19, 2021): 192–204. http://dx.doi.org/10.26750/vol(8).no(2).paper9.
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The nineteenth Century produced some of the most complex plays that today represent modern theatrical technicalities that differed in several ways from twentieth Century plays. In the twentieth Century, Tennessee Williams was acknowledged for the diversity of genres he covered in his plays, most of which focused on the dark aspects of human experience, which lent significant technicalities to his plays, most notably, The Glass Menagerie. Similarly, Anton Chekhov is a nineteenth Century playwright who developed plays that introduced several theatrical technicalities. He was renowned for portraying realism, a feature that characterised 19th Century theatre. Chekhov’s The Cherry Orchard is a play considered the landmark of modern theatrical technicalities.
This study explores three ways in which Williams and Chekhov made The Glass Menagerie and Cherry Orchard respectively as landmarks of theatrical technicalities, i.e., the multiplicity of genres, effective use of indirect action and irony as theatrical conventions, and the integration and portrayal of nineteenth Century and twentieth Century realism. The research finds that while Williams employs a multiplicity of genres and the use of irony as the ideal theatrical conventions, Chekhov integrates all three elements to create modern theatrical technicalities that not only influence the audience's perception of the characters but also the playwright’s intention.
This study is important for both undergraduate and postgraduate readers as it can enrich a reader’s thinking about different theatrical techniques and conventions used in both plays.
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Klosi, Iris. "Translation and Theatre Performance of Arthur Miller’s Plays in Albania." European Journal of Language and Literature 4, no. 4 (November 29, 2018): 10. http://dx.doi.org/10.26417/ejls.v4i4.p10-16.
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This paper explores the challenges and difficulties faced by theatrical translators and stage directors during the process of acculturating and adapting foreign written plays to the target audience. More specifically, the focus is on the translation and performance of some of Arthur Miller’s plays such as “Death of a Salesman”, “The Crucible”, “A View from the Bridge”, “Incident at Vichy” in Albania during the socialist realism and in the democracy era. The paper contains translation and stylistic analysis of the above-referred plays as well as performance analysis in the target culture supported by concrete examples in both SL and TL. Furthermore, the paper provides a depth insight of the differences noted in terms of collaboration between theatrical translators and stage directors in the socialist realism and in the democracy era supported by archival images, article stories, reviews, etc. In conclusion, the paper aims at praising the job of theatrical translators and stage directors because they are providers of quality, professionalism, aesthetic pleasure. They both intend to render the meaning of the ST with dynamic equivalence in attempt to achieve the most awaited success on stage. Keywords: Theatrical translation, translation devices, semiotic signs, stage performance, stage directing, etc.
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Garner, Stanton B. "Staging “things”: Realism and the theatrical object in Shepard's theatre." Contemporary Theatre Review 8, no. 3 (August 1998): 55–66. http://dx.doi.org/10.1080/10486809808568521.
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Aaltonen, Sirkku. "Rewriting Representations of the Foreign: the Ireland of Finnish Realist Drama." TTR : traduction, terminologie, rédaction 9, no. 2 (March 16, 2007): 103–22. http://dx.doi.org/10.7202/037260ar.
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Abstract Rewriting Representations of the Foreign : the Ireland of Finnish Realist Drama — In this article, the author discusses what happens to culture-specific elements in the translation of realist drama. Following the polysystem approach, the hypothesis is that translation involves acculturation, or manipulation, even though realism as a style of presentation professes to be "lifelike." Which elements are acculturated, and how, is linked to the awareness assumed on the part of the audience of the cultural and generic conventions as well as of the dramatic function of the culture-specificelements in characterizationand the construction of plot, theme and atmosphere. Taking eight Irish plays rewritten into Finnish, the author concludes that they must be seen as products of the Finnish, not the Irish, theatrical system.
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West, Shearer. "Virtual Reality Avant la Lettre: Loutherbourg and the Origins of Urban Spectacle." Nineteenth Century Theatre and Film 46, no. 2 (July 8, 2019): 119–35. http://dx.doi.org/10.1177/1748372719860374.
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Michael Booth's essays and books on Victorian theatre provided a formative and comprehensive set of scholarly works examining the origins of realism on the Victorian stage. Using Booth's arguments about the evolution of theatrical realism, this essay probes the notion of virtual reality and its impact on the spectator to examine the Eidophusikon – an invention of the artist, scene designer and engineer, Philippe Jacques de Loutherbourg. This essay examines this phenomenon in terms of how the urban spectacle plays out within it, the fundamental role of technology and science in its success, and the paradoxical play of realism and imagination in how his work was received by audiences experiencing its immersive effects in the age of panoramas and post-Newtonian ideas of light, sight and viewing.
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Reid, Trish. "The Dystopian Near-Future in Contemporary British Drama." Journal of Contemporary Drama in English 7, no. 1 (May 7, 2019): 72–88. http://dx.doi.org/10.1515/jcde-2019-0006.
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Abstract This paper addresses the theme of fear and anxiety in contemporary drama and performance through a consideration of the trope of the dystopian near-future as it has re-occurred in a significant number of recent British plays. It takes as its starting point the contention that the prevalence and persistence of this motif makes it worthy of investigation. The plays under discussion do not re-inscribe socio-political problems, or the status quo, by pretending to be objective records of the real world. Instead they create alternative fictional near-future worlds, exploratory dystopias that deliberately perform anxiety-inducing and estranging critical interrogations of current cultural and political concerns. Drawing on the work of Raymond Williams this essay seeks to show that the critical and emotional insights offered by these play-worlds are made possible only through the process of our pondering their strangeness. Each example stages its own particular disruption of theatrical realism and in so doing engages critically both with the British realist theatrical tradition, and also with the wider cultural discourses about ‘truth’ and ‘reality’ that haunt our contemporary neoliberal moment and the emotions these discourses produce.
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Brzozowska, Sabina. ""Jak gdyby to była prawda…" Podejrzany realizm i podejrzany modernizm Tadeusza Rittnera." Wielogłos, no. 3 (45) (2020): 35–55. http://dx.doi.org/10.4467/2084395xwi.20.021.12829.
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“As If It Were True…”: Tadeusz Rittner’s Dubious Realism and Dubious Modernism This paper is an attempt at redefining selected plays written by Tadeusz Rittner in the modernist and symbolist convention. In the 1950s, they were evaluated by Zbigniew Raszewski as among the playwright’s lesser achievements. I have analysed three texts: the one-act plays Sąsiadka (“The Neighbour”) and Odwiedziny o zmroku (“A Visit at Dusk”) as well as the play Don Juan. There is no doubt that the author did not avoid stylistic exaggeration in his modernist works, but one can also find some distance from the conventions of the Young Poland period as well as the use of the grotesque, theatrical sham, and the poetics of intimate drama in these plays. Rittner’s Viennese character is an alibi for his aesthetic choices and the manner of staging emotions. The evaluation of these plays, which were written in the symbolist and modernist convention, was affected by the theatrical reception, the artists’ superficial reading of the instructions included in the stage directions, and the pigeonholing of the works as realism with a hint of Romantic mood.
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Golub, Spencer. "The Curtainless Stage and the Procrustean Bed: Socialist Realism and Stalinist Theatrical Eminence." Theatre Survey 32, no. 1 (May 1991): 64–84. http://dx.doi.org/10.1017/s0040557400009467.
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With the advent of the 1917 Revolution, “the whole of the Russian cultural world [became] an icon.” Soviet power retroactively encoded revolutionary imminence and immanence in history and fetishized the revolutionary historical moment as the pregnant body of past, present and future. Leon Trotsky wrote: “If the symbol is a concentrated image, then the revolution is the supreme maker of symbols, since it presents all phenomena and relations in concentrated form.” Lenin's belief that “a communist [proletarian] culture must embody the entire store of knowledge accumulated in the pre-revolutionary past” could not, however, fully predict the Soviets' gross and wholesale advertisement of self-made objects inscribed with ideological desire. This owed more to what Renato Poggioli called the “pronounced tendency of the Russian critical spirit to translate artistic and cultural facts into religious or political myths.” This tendency was exploited by Joseph Stalin, who recognized that “Totalitarianism is … its own Utopia.”
Dissertations / Theses on the topic "Theatrical realism"
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Herane, Amanda Rios. "\'Melhor que o melhor dos sonhos\': família e ordem social na prosa de Machado de Assis (décadas de 1860 e 1870) e no teatro realista brasileiro." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-13032017-113828/.
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Esta pesquisa propõe uma comparação entre contos e romances produzidos por Machado de Assis nas décadas de 1860 e 1870 e produções do teatro realista brasileiro, desenvolvido no país entre as décadas de 1850 e 1860, com o objetivo de capturar suas representações da ordem familiar. Levando-se em conta que Machado de Assis foi entusiasta do realismo teatral, como assinalam alguns dos textos que o autor publicou na imprensa, é possível constatar importantes semelhanças entre a prosa machadiana estudada e obras do teatro realista nacional, no que tange ao tratamento de assuntos concernentes à esfera familiar. De modo geral, esses assuntos têm como eixo o debate sobre a transição de paradigmas familiares por que passava a sociedade brasileira do período, atrelando-se à defesa do casamento eletivo, modelo de união da burguesia então emergente nas cidades, em contraste com o casamento por arranjo familiar, forma de matrimônio típica do universo de relações patriarcais, frequentemente praticada pelas elites locais. Pode-se identificar um complexo estético-ideológico comum às obras de Machado de Assis e às peças mencionadas, marcado pela perspectiva de que a arte teria função didático-moralizante, podendo contribuir para o aprimoramento de instituições sociais como a família e o casamento, sobre as quais esses textos apresentam uma visão positiva. O trabalho separa-se em duas partes. A primeira é dedicada à prosa de Machado de Assis, incluindo os quatro primeiros romances do autor e uma seleção de contos que ele publicou no período correspondente ao recorte cronológico. A segunda parte apresenta a leitura de algumas peças realistas brasileiras, quase todas comentadas por Machado de Assis. Por meio da comparação dessas peças com as obras abarcadas na primeira parte, defende-se a tese de que Machado de Assis incorporou elementos da estética teatral realista para compor a literatura orientada para a vida prática que solicita em alguns de seus contos, e que está sintonizada com os debates sobre a família e as instituições sociais presentes em sua prosa das décadas de 1860 e 1870.This research establishes a comparison between short stories and novels written by Machado de Assis during the decades of 1860 and 1870, on the one hand, and Brazilian plays pertaining to the theatrical realism, which has been developed in Brazil during the decades of 1850 and 1860, on the other hand. The comparison focuses representations of familial order in those texts. Considering that Machado de Assis was an enthusiast of the theatrical realism, as many of his journalistic texts show, it is possible to identify important similarities between the authors prose and Brazilian realistic plays, in their approach to matters related to familial order. Those texts usually associate these matters with discussions about the changes in the paradigm of family relations in Brazil in the 19th century, standing up for volitional marriage, an ideal of the rising urban bourgeoisie, in contrast to patriarchal arranged marriage, commonly practiced by rural elites. It is possible to recognize an esthetical-ideological structure in both Machado de Assiss prose and realistic plays, characterized by the idea that art had a didactic and moralizing objective, contributing to the development of society institutions such as family and marriage, which these texts present in a positive way. The thesis is divided into two sections. The first one is dedicated to Machado de Assiss prose, including the first four novels written by the author and a selection of the short stories he has published during the selected period. The second one offers an interpretation of some of Brazilian realistic plays, almost all of which were commented by Machado de Assis. From the comparison between these plays and the productions studied at the first section, we argue that Machado de Assis incorporated esthetical elements from theatrical realism, in order to compose a literature directed towards concrete life, which the author stands up for in some of his short stories. This literature, as we shall see, is consistent with the discussions about family and social institutions that are presented in the writers prose in the decades of 1860 and 1870.
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Susic, Semir. "Beyond Good and Evil : An essay on the combination of ideas and aesthetics in George Bernard Shaw's Mrs Warren’s Profession." Thesis, Stockholm University, Department of History of Literature and History of Ideas, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-8314.
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The objective of this essay is to approach a larger comprehension of the drama of George Bernard Shaw. The essay studies the combination of ideas and aesthetics in the play Mrs Warren’s Profession; how theatrical and mainly literary aesthetics interplay with political ideas and what the consequence of this combination is. The study illustrates that the dramatic method consists of using ideas as effective theatrical tools to move the reader/viewer by thought and not by sentiment. The study also illustrates that a key to understanding Shaw’s drama can be found in the construction of operas and symphonies; musical theoretic constructions are an integrated dramatic technique in Mrs Warren’s Profession. The study shows that it is a play with a political and social purpose; to raise awareness of the mechanisms of prostitution. The play does not use simplifications in terms of good and evil. It questions conventionality, unveils social hypocrisy and attempts to disillusion the reader/viewer. The antithesis between realism and idealism is an important source of dynamics and constitutes one of the principal aesthetical constructions.
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Zambrano, Gustavo. "A trajetória artística de Furtado Coelho nos palcos brasileiros : (1856-1867)." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/152956.
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Este trabalho tem por objetivo descrever a trajetória artística de Luiz Candido Furtado Coelho nos anos de 1856 a 1867, período esse em que o artista português desenvolveu os cargos de ator, ensaiador e empresário teatral no Rio de Janeiro e em outras regiões do país. Para isso, consultamos jornais e revistas do século XIX, disponibilizados pelo sítio da Hemeroteca Digital da Biblioteca Nacional, fato esse que se justifica em razão de nessa plataforma haver um grande volume de informações sobre o trabalho de Furtado Coelho, fundamentais para a escrita da biografia do artista. Assim, todas as menções a Furtado Coelho encontradas nos periódicos do século XIX, e que foram apresentadas neste estudo, tem como intenção melhor compreender a história do artista português e do teatro no Brasil. Como resultado, o trabalho irá mostrar a grande importância de Furtado Coelho nos palcos do Rio de Janeiro e, de certa forma, do Brasil. Em outras palavras, iremos detalhar que o artista em estudo foi um dos grandes responsáveis pelo estabelecimento do realismo teatral no Brasil, pois como ator Furtado Coelho inovou nos palcos brasileiros ao apresentar uma nova maneira de atuar alinhada à escola realista e como empresário continuou a levar ao palco do Teatro Ginásio peças de valor literário, alternando-as com espetáculos de entretenimento, em um período no qual sofria a concorrência do teatro cômico e musicado.
This work aims to describe the artistic trajectory of Luiz Candido Furtado Coelho in the years 1856 to 1867, when the Portuguese artist worked as actor, rehearser and theater manager in Rio de Janeiro and other regions of the country. For this, we consulted newspapers and magazines of the nineteenth century, made available by the website of the Digital Library of the National Library, a fact that is justified because there is a large volume of information on the work of Furtado Coelho, fundamental for the writing of the biography of the artist. Thus, all references to the artist found in those periodicals presented in this study are intended to better understand his history, as well as the history of theater in Brazil. As a result, the work will show the great importance of Furtado Coelho on the stages of Rio de Janeiro and, to a certain extent, in the whole country. In other words, we will show Furtado Coelho as highly responsible for the establishment of theatrical realism in Brazil, since, as an actor, he innovated in Brazilian stages by presenting a new way of acting in line with the realist school and, as an entrepreneur, he continued to stage plays of literary value ate the Ginásio Theater, alternating them with spectacles of entertainment, in a period in which it suffered the competition of the comic and musical theater.
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Larsson, Cornelia. "Teaterrekvisitan som aktiv deltagare : Att trigga ljudeffekter från scen." Thesis, Blekinge Tekniska Högskola, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-19894.
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Detta arbete syftar till att undersöka de relationer som uppstår mellan teaterrekvisita, skådespelare och ljudtekniker genom det posthumanistiska perspektivet agentiell realism. Jag utforskar även vilka fenomen som uppstår ur dessa relationer. Vad händer när sensorer implementeras i rekvisitan så att skådespelarna själva kan trigga vissa ljudeffekter från scenen? För att undersöka detta har jag tagit fram prototyper av teaterrekvisita med sensorer och på så sätt i viss mening gett föremålen en egen röst. Detta bidrar till att de kan delta i dialogen med människorna i en föreställning, samtidigt som samspelet mellan skådespelare och ljudtekniker förändras. Genom processens olika iterationer har gränsen mellan subjekt och objekt blivit allt mer otydlig, liksom den mellan de olika rollerna. Skådespelaren blir i viss mening ljudtekniker, liksom både rekvisitan och ljudteknikern i sin tur blir skådespelare.This thesis aims to investigate the relationships between theatrical props, actors and sound engineers through the posthumanistic perspective of agential realism. I also explore the phenomena that emerge from these relationships. What happens when sensors are implemented in the prop in order for the actors themselves to trigger certain sound effects from the stage? To investigate this, I have developed prototypes of theater props with sensors and thus in some sense given the objects a voice of their own. This contributes to them participating in the dialogue with the people in a performance, while at the same time changing the interplay between actors and the sound engineer. Through the different iterations of the process, the division between subject and object has become increasingly unclear, just like the one between the different roles. In some sense, the actor becomes an audio engineer, as both the prop and the audio engineer in turn become actors.
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Taylor, Aaron. "The Pathology of Alienation: A Psycho-Sociological Approach to the Theater of Paloma Pedrero." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?ucin1109022646.
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Thesis (Ph. D.)--University of Cincinnati, 2005.Advisor: Taylor. Title from electronic thesis title page (viewed \May 20, 2008). Keywords: Paloma Pedrero; Theater; Gestalt therapy; Robert Merton; Sociology; Alienation; Marginalization; Pathology; Theatrics; Aristotle; Brecht; Antonio Buero Vallejo; Neorealism; Twentieth-century Spain; Realism; Deviancy; Deviance; Socialization; Deviant; Retr. Includes abstract. Includes bibliographical references.
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McCurdy, Marian Lea. "Acting and its refusal in theatre and film." Thesis, University of Canterbury. Theatre and Film Studies, 2014. http://hdl.handle.net/10092/10038.
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This thesis examines works of theatre and film that explore a refusal of acting. Acting has traditionally been considered as something false or as pretending, in opposition to everyday life, which has been considered as something real and truthful. This has resulted in a desire to refuse acting, evident in the tradition of the anti-theatrical prejudice where acting is considered to be seductive and dangerous. All the works that I examine in this thesis are relatively recent and all of them explore the paradox that in our (postmodern) times a gradual reversal has occurred where everyday life is seen as more and more false or as pretending or simulating (ie. containing acting and theatricality) and conversely, acting in theatre and film has become the place where people have begun searching for reality and truth and where ‘acting’ and pretending in life can be revealed and refused. The result of this paradox - and what I also discuss as a confusion of acting and living - is that the place in which acting can be refused has shifted; the ethical desire to refuse acting (in theatre and in life) is turning up in the aesthetic domain of acting itself.
In my first chapter I study works by filmmaker István Szabó and playwright Werner Fritsch, who represent the desire to refuse acting in the context of fascism where theatrical and filmic spectacle was used by the Nazis to seduce the population and where actors during this period also experienced an inability to separate their political and artistic lives. In my second chapter I look at the way Genet’s The Balcony and Ang Lee’s Lust, Caution explore the desire to refuse acting as a result of a confusion of acting and living in the context of sexual (sadomasochistic) role-play. And in my third chapter I examine the way Warhol’s The Chelsea Girls, von Trier’s The Idiots and Affleck’s I’m Still Here represent a refusal of acting and theatricality altogether, responding to the way that ‘acting’ in life may have become an all-pervasive substitute (a simulation) for living. Foundational to the development of this thesis and a major source of material is my analysis of three theatrical productions with Free Theatre Christchurch, directed by Peter Falkenberg, in which I was involved as an actor and in which a refusal of acting was explored.
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Dong-KuanLi and 李東寬. "Dramatist Realism or Theatrical Realism – Creative and Conservative Ways of Epic Theater." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/78186754681373931515.
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碩士國立成功大學
藝術研究所
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Although Bertolt Brecht viewed Epic theater as an innovation of realism, his theatrical techniques are totally different from traditional realistic plays. The controversy it brought up went two ways: one focused on criticizing the performing style, claiming that Epic theater is only a transformation of realism; the other, the left wing intellectuals, thought that realism should be a progressive artistic style of a new society and stratum, and Epic theater just rejected to honestly represent the “real” society. However, the two arguments both failed to put the basic claims of Epic theater into consideration: the aim of Realism is social criticising, and the new vision of social criticism, Marxism, should be established on a new literary style. Modern society caused alienation on human beings, and the ideology should be removed before we can decipher the alienation. And this is the actual foundation of how Epic theater made innovations on Realism. Brecht’s theatrical realization is analyzed in two parts in this thesis: scripts and staging. Epic theater intentionally avoids the lyrically plots, tries to force the audience to face the relation between themselves and the society. Alienation Effect leaves the audience a clear mind to think about the plots and the society. The performance and stage are no longer realistic as well. However, Brecht’s works still became more and more realistic. This variation was to help his audience to understand Epic theater and to establish its feature of social criticizing. Therefore, crowd movements and avant-garde are also necessary for the discussion of Epic theater. In this thesis, the limits and alterations of traditional realism are correlated to Epic theater; Modernism and avant-garde are used to check the validity of this innovation. Not after clarifying Brecht’s creation and his purposes could the evaluation of his succeeders be possible. The growing and variation of Epic theater also reflected on the succeeding dramatists and directors. Alienation Effect is the guideline used of judging these succeeders’ works. Dramatists who wrote their plays claiming followed this guideline but failed to hold an aggressive spirit, are incapable of fulfilling the social purposes of Epic theater. However, Brazilian director Augusto Boal’s “Theatre of the Oppressed” decided to leave rooms for conversations and interactions and act without the bounds of scripts. While performing, the experiences and bodies of audiences are drawn into the performance; and the theatre becomes a revolutionary preview of crowd movement. Brecht and Epic theater have become classics in our time, though we shall still look into the intentions of creations and his modernity to appreciate them. Criticisms focused on stylish or ideological issues are all misunderstandings. This thesis aims to re-illustrate the advancements and stagnations of Epic theater, along with its development in the recent years. Epic theater is definitely not a bygone artistic style.
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Ly, Hieu-Thong. "Le plan-séquence chez Kenji Mizoguchi." Thèse, 2012. http://hdl.handle.net/1866/9151.
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Cette recherche porte sur le langage cinématographique (ou mode de représentation) adopté par Mizoguchi en contraste avec le style classique hollywoodien. Notre hypothèse est que le refus de Mizoguchi de recourir au découpage classique et au gros-plan procurerait au spectateur une expérience de perception qui tendrait à se rapprocher de celle vécue par un spectateur de théâtre ou le témoin d’une action se déroulant dans notre monde physique.
Mizoguchi a débuté son métier au début des années 1920. Le cinéma japonais venait tout juste de prendre la voie d’un art nouveau en quittant son statut de simple captation de spectacles théâtraux. L’industrie cinématographique japonaise était alors en incubation marquée par diverses influences occidentales. Nous nous pencherons plus particulièrement sur les questions stylistiques à partir du moment où le cinéma japonais s’engageait dans le parlant en imitant le style classique hollywoodien. Ce cinéma dominant devenait une norme que Mizoguchi décida de ne pas suivre pour préférer un style caractérisé par des plans-séquences. Ce style plus « neutre » et «objectif » allait être encensé par Bazin après la guerre au moment où ce dernier découvrit notamment Welles et Wyler.
À partir de plusieurs extraits filmiques, nous analysons le plan-séquence mizoguchien comme substitution à une série de plans rapprochés qui se serait imposé normalement avec le style classique hollywoodien. Et ce, afin de discuter des enjeux de réalisme et de théâtralité soulevés par Bazin.This research focuses on the film language (or mode of representation) chosen by Mizoguchi in contrast to the Hollywood classical style. Our hypothesis is that Mizoguchi’s refusal to resort to traditional cutting and close-up would give the viewer an experience of perception that would tend to be get closer to the one experienced by a stage audience or viewers witnessing an action taking place in our physical world. Mizoguchi made his entry into the profession in the early 20s. At that time, Japanese cinema just recently became a new art by leaving its status of a mere capture of theatrical performances. The Japanese film industry was being incubated with various Western influences. We will focus specifically on stylistic issues from the moment the Japanese cinema engages in talkies by imitating the Hollywood classical style. This dominant style became a standard practice which Mizoguchi decided not to follow to prefer sequence-shots. The long takes style was to be later praised by Bazin for its neutrality and objectivity when he discovered Welles and Wyler after the Second World War. Through analysis of film excerpts, we compare Mizoguchi’s sequence-shots with cutting that would usually take place with the Hollywood classical style. This is to discuss the issues of realism and theatrics raised by Bazin.
Books on the topic "Theatrical realism"
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Storer, Inez. Theatrical realism: The art of Inez Storer. Santa Clara, Calif: De Saisset Museum, 2003.
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The Actors Studio and Hollywood in the 1950s: A History of Theatrical Realism. Edwin Mellen Pr, 2007.
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Storer, Inez. Theatrical Realism: The Art of Inez Storer: De Saisset Museum, Santa Clara University, September 27-December 7, 2003. de Saisset Museum Santa Clara University, 2003.
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Barker, Roberta. ‘Deared by Being Lacked’. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.5.
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Though it has been much criticized by theatre artists and scholars, the legacy of theatrical realism and naturalism continues to shape contemporary Shakespearean performance. If realist and naturalist approaches to acting fail to encompass the full power of the Shakespearean play-text—or to remedy its more problematic aspects—is this failure necessarily unproductive? Considering this question in relation to the play-text of Antony and Cleopatra and a few of its recent theatrical incarnations, this chapter argues that the lacks, omissions, and failures of realist and naturalist modes of performance can provoke spectators to engage anew with Shakespeare’s lovers and their potential significance for contemporary Western audiences. Acknowledgement of the persistence and value of such traditional modes can add to the complexity of audience reception studies of Shakespeare..
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Taylor, Millie. Lionel Bart. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.20.
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Lionel Bart created musical theatre works from a uniquely British working-class perspective. Rather than having an academic training he relied on instincts developed from a working-class East End Jewish upbringing, the London pop music industry, and his early theatrical experiences at Unity and Theatre Workshop. From these diverse influences he produced what is arguably one of the best-loved British musicals of all time, Oliver! Subsequently, Blitz! and Maggie May also achieved commercial and critical success in Britain, but did not transfer to Broadway. Building on his background and theatrical context, Bart spoke in a vernacular musical and lyrical language that retained a gritty urban realism and a left-wing political ideology. Although the small number of his works that are regularly revived demonstrates that he wrote of and for his time, his influence and that of his collaborator, set designer Sean Kenny, has been pervasive and profound.
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David, Deirdre. Pamela Hansford Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198729617.001.0001.
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This literary biography traces the life of Pamela Hansford Johnson from her birth in a theatrical family to her death as the widow of C.P. Snow. A prolific writer, she published almost thirty novels, reviewed fiction for major newspapers, and made regular appearances on BBC cultural programmes. She lived through tumultuous changes in British life—1930s political unrest, World War 2, and postwar austerity: social changes that form the background for her fiction. Persuaded by her first love, Dylan Thomas, to abandon writing poetry for writing fiction about her life in South London, she devoted herself to restoring the traditions of social and psychological realism in the English novel at a time when the modernist experimentation of Woolf and Joyce prevailed. Hers was a courageous writing life.
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Reynolds, Paige. Design and Direction to 1960. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.14.
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Early Abbey staging and design was extremely simple, partly enforced by the limitations of their resources. Yeats’s ambitious experiments with the screens of Gordon Craig came to nothing. Initially, the Gate Theatre was established self-consciously as a theatrical alternative to the Abbey, open to European aesthetics, and concentrated on stage production and design, ideas articulated and exemplified by Micheál Mac Liammóir and Hilton Edwards in their design and direction work. However, the chapter argues that this conventional narrative overlooks the design work of Tanya Moiseiwitsch at the Abbey Theatre in the 1930s, which showed a strong influence of expressionism. When the view of Irish theatre is further broadened to include pageants and public performances which are also a feature of mid-century, it becomes clear that Irish theatre of the time was far from being an unrelieved vista of peasant realism.
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Lewis, Hannah. “An achievement that reflects its native soil”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0004.
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The third chapter focuses on several French-language musical films, known as opérettes filmées (filmed operettas), that were produced by American and German companies and intended for French audiences. Because French production was slow to adopt sound film technology, many French personnel (directors, composers, and actors) worked on their first sound films through these international contexts. The films analyzed in this chapter—Chacun sa chance, Le Chemin du paradis, and Il est charmant—drew influence from a range of stage genres from different national traditions, and attempted to negotiate theatrical and cinematic aesthetics. Furthermore, in the opérettes filmées, filmmakers attempted to bring an element of fantasy back to cinema that many feared the realism of spoken dialogue had displaced. This chapter reveals how the genre made an important contribution to a broader critical acceptance of sound film in France.
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Levitas, Ben. The Abbey and the Idea of a Theatre. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.4.
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The Irish national theatre movement developed in the ferment of cultural nationalism at the turn of the century, but it was not at all clear what form a national theatre should take: an Ibsenian model of critical realism, favoured by Edward Martyn, George Moore, and John Eglinton, the mythological poetic drama of Yeats, or the peasant plays that came to be written by Yeats and Gregory. Apart from the playwrights, the company of actors formed around the Fay brothers, nationalist groups such as Maud Gonne’s Inghinidhe na hEireann, and the Abbey’s English patron Annie Horniman all had ideas of their own. This chapter analyses the national and theatrical politics of the period up to the death of Synge in 1909, paying particular attention to the ways in which debates of the period centred around the idea of an Irish theatre in ways that were to influence future generations.
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Escolme, Bridget. Tragedy in Twentieth and Twenty-first Century Theatre Production. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.33.
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This chapter discusses the relationship between actor and scenography in twentieth and twenty-first century productions of Hamlet and King Lear, particularly the common theatrical trope of realist acting on abstract stage sets. It argues that whilst in some productions the notion of tragic hero as common man reduces the plays to a set of psychological problems, in others, contrasts and tensions between acting style and scenography or theatre architecture have created what the author calls a ‘politics of intimacy’. These productions have made it possible for detailed, realist acting on non-naturalistic stage sets to pose potent questions about the social and political meanings of human relations in the plays. They have allowed for an audience experience that involves both psychological intimacy and ideological critique.
Book chapters on the topic "Theatrical realism"
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Nahm, Kee-Yoon. "Theatrical Border Crossings: Stereotypes against Realism in the Plays of Young Jean Lee." In Migration and Stereotypes in Performance and Culture, 57–75. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39915-3_4.
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Dixon, Paul. "The ‘Real’ and Theatrical Politics of the Peace Process: Beyond Idealism and Conservative Realism." In Performing the Northern Ireland Peace Process, 41–72. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91343-8_2.
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"CHILDE LOUIS TO THE BROADCAST TOWER CAME: LOUIS MACNEICE, RADIO DRAMA AND THE DISMANTLING OF YEATSIAN THEATRICAL SPACE." In Beyond Realism, 121–36. Brill | Rodopi, 2014. http://dx.doi.org/10.1163/9789401212014_010.
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"ELEVEN. Theatrical Scenery and Styles; Traviata and the New Realism." In Verdi at the Golden Gate, 153–63. University of California Press, 1993. http://dx.doi.org/10.1525/9780520913424-016.
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Guillaumier, Christina. "Drama, Theater, and Gesture in the Operas of Sergei Prokofiev." In Rethinking Prokofiev, 233–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0014.
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This chapter explores Prokofiev’s processes, compositional strategies, and theatrical instinct as evident in his operatic works. Each of the eight operas discussed tells a different story about Prokofiev’s context, aesthetic, and compositional procedures; in each, he explores different musical, dramaturgical, and artistic possibilities. While the soundscapes of the earlier operas are different from those of his Soviet period, his musical voice remains distinctive. He was passionate about the stage and had much to say about opera in the twentieth century, but his innovative and radical ideas were often obscured by political and social contexts. Prokofiev’s operatic vision centered on characterization, visualization, and textual emancipation. His most significant contribution to the twentieth century’s operatic stage was dramatic realism, based on what he called “theatrical rhythm,” with his use of declamation to replace set pieces and ensembles.
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Dixon, Paul. "The ‘real’ and ‘dirty’ politics of the Northern Ireland peace process: a constructivist realist critique of idealism and conservative realism." In Theories of International Relations and Northern Ireland. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995287.003.0002.
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The chapter argues that Idealist and Realist paradigms cannot explain the Northern Ireland peace process. Idealism underestimated communal antagonisms and failed to appreciate the difficult role played by politicians in achieving an elite compromise. Realists underestimated the possibilities of political change because they have a static, essentialist view of identity which underestimates the role of political elites. Constructivism provides a more flexible framework for analysing the ‘real’ politics by which the peace process was advanced. A Constructivist framework and theatrical metaphor are provide a more complex and nuanced understanding of politics. This approach takes into account the constraints and opportunities facing political actors and the consequent morality of the ‘political skills’ or deception and manipulation that were used to drive the peace process forward.
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Fraunhofer, Hedwig. "Where Does the Body End? Artaud’s Materialsymbolic Theatre." In Biopolitics, Materiality and Meaning in Modern European Drama, 235–79. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474467438.003.0007.
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This chapter offers a descriptive reading of Artaud’s most famous play, The Cenci (1935), that respects the materiality and temporality of Artaud’s text, while also including a discussion of the play’s sparse production history. Breaking down immunitarian walls between self and other, Artaud’s theatre of cruelty provides a performative assemblage of human and nonhuman actors or actants, (human) spectators, non-verbal theatrical tools, and forces and energies that transverses the binary distinction between materiality and mind, aesthetic perception and meaning. Together with Brechtian theatre and the theatre of the absurd, Artaud’s use of space and the mythical and ritual dimension of his theatrical vision constitute the end of “fourth-wall realism,” prefiguring the postdramatic, “dialogue-less” theatre of the 1960s to 90s. Inspiring Deleuze’s view of art, Artaud’s theatre brings us to the limits of what our embodied selves can endure and to the limits of representation, opening the horizon of death. In this sense, as the experience of limits, theatre is again what theatre scholar Una Chaudhuri calls “boundary work”.
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Gingrich, Brian. "Collapse of the Scenic Method." In The Pace of Fiction, 111–51. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198858287.003.0005.
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Beyond the imperative or appearance of realism, some scenic impulse in nineteenth-century fiction determines narrative pace. One looks, then, to Charlotte Brontë, to Nathaniel Hawthorne, and even to the realist Balzac in his theatrical tendencies. This chapter reckons with how the scenic impulse that engenders scene-and-summary fiction also leads to its collapse. Chapters become scenes; chapter entries become rising curtains; summaries become prologues for a scene that waits beyond the threshold. One sees it in Zola, Howells, Kate Chopin …. But the seeming culmination appears when Henry James, in the 1890s, avows that he is bound to “the scenic method.” James’s career is one of the most illuminating representations of the arc of the scene-and-summary novel, and its climax appears at the end of the nineteenth century. From there, with late James, one senses a resurgence of romance in the form of narrative lyricism, and one begins to wonder whether pace will be dissolved in that lyrical expanse.
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Ryan, Susan. "Blurring Lines and Intersecting Realities in Barbara Kopple’s Fictional Work." In ReFocus: The Films of Barbara Kopple, 159–77. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0010.
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In addition to Barbara Kopple’s recognized contributions to documentary filmmaking, she directed several fictional works for both television broadcast and theatrical release. Although she often refers to herself as a director of both non-fiction and fiction, since both are important to her, very little critical attention has been paid to her fictional work such as the television episodes she directed for Homicide: Life on the Street, the PBS production Keeping On (1983), based on a screenplay by Horton Foote, and the independent feature Havoc (2005). This chapter examines the ways that she uses documentary techniques associated with cinema verite to establish a sense of place, character, realism, and social engagement within fictional stories. Rather than see her fictional work as an addendum to her acclaimed documentaries, the chapter argues that there is a continuum in which dramatic form and documentary practice inform one another as part of her style and approach to filmmaking.
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Armond, White. "Mike Leigh: Theatrical Neo-Realist." In First of the Year 2010, 205–12. Routledge, 2017. http://dx.doi.org/10.4324/9780203791851-49.
Full textConference papers on the topic "Theatrical realism"
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.
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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Gagneré, Georges, and Cédric Plessiet. "Experiencing avatar direction in low cost theatrical mixed reality setup." In MOCO '18: 5th International Conference on Movement and Computing. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3212721.3212892.
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Di Gregorio, Giuseppe. "THE TAORMINA THEATER: THE DIGITAL SURVEY SYSTEM OF KNOWLEDGE OPEN IN TIME." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12168.
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In Sicily there are 19 show venues including ancient theaters and theatrical architectures. Many of these structures are fully functional and subject to visitor flows such as the theater of Syracuse and that of Taormina. They are object of interest and curiosity, revealed in the eighteenth century during the grand tour by travelers and landscape painters, in the last twenty years they have become reasons for study in various scientific areas as from acoustics to archeology, always passing through digital surveying. Studied through classical photogrammetry, structure from motion (SFM), 3D laser scanner, their representation as well as by increasingly refined and detailed two-dimensional graphics, makes use of 3D representations and techniques of virtual reality (VR) and augmented reality (AR). Due to their particular geometry, the need for studies and research is considered essential to deepen the methods of the surveys and plan their developments. Examples and problems for the archaeological survey are reported with the aim of critically evaluating the current state of the art of 3D survey, the potential and possible future developments, in the present study the results obtained for the survey of the Taormina theater (ME) and in-depth analysis of the versure environments.
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Falsetti, Marco, and Pina Ciotoli. "Introverted and knotted spaces within modern and contemporary urban fabrics: passages, gallerias and covered squares." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5913.
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The scenic plaza mayor shares with the theater organisms some formative characters, since they both derive from a transformation, by knotting, of pre-existing buildings and fabrics. This architectural transformation is generated, at the beginning, by a change in the modalities of using public space. As for the corral de comedias, the process is due to the sedentarization of the theatrical practice, which abandons the itinerant dimension of the street to move inside the buildings (such as private homes and palaces). The original corral de comedias was in fact set up inside an open place that could be covered, and this feature became permanent over time, creating a new building type. Similarly, since the sixteenth century, squares became the fundamental location of Spanish civic life as well as they hosted all sorts of political, religious and festive representations, but also the venue of executions. For this purpose, namely to allow people to watch such events, the squares were transformed, by raising temporary walls and walkways. In some cases, like Tembleque and San Carlos del Valle, they began to realize permanent continuous balconies, with solutions that seem to have followed the same morphological evolution of corrales de comedias. In both cases it was necessary to unify different elements (buildings or rooms) and connect them to each other, through a process of “knotting”, in order to create a new organism. Over time the physiognomy of the spaces, originally open, assumed the permanent characters of a new type, closed and similar to the courtyard of a “palazzo”.