American Drama in the Age of Film by Zander Brietzke

By Zander Brietzke

Is theater relatively useless? Does the theater, as its champions insist, particularly supply a extra intimate adventure than movie? if this is the case, how have adjustments in cinematic thoughts and applied sciences altered the connection among level and movie? What are the inherent barriers of representing third-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 diversifications of ten significant performs, Brietzke seeks to focus on the inherent powers of every medium and draw conclusions not only approximately how they range, yet how they should fluctuate to boot. 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 so much reside occasions.
 
But theater remains to be very important and concerns vastly, Brietzke argues, even though for purposes that run counter to the various virtues characteristically attributed to it as an artwork shape, resembling intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater via hard these universal pieties and delivering a brand new severe paradigm, person who champions spectacle and simultaneity because the so much, now not least, very important parts of drama.

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In movies, it is reaction that gives every moment its potency. That’s why listening in films is so important, as well as the use of the eyes in the close-up” (11). The film actor does less, exerts less energy, reacts instead of acts because the audience, the camera, rests nearby. Despite the variety of shots that may require a separate style of acting, more melodramatic or more intimate, the majority of shots are what Tucker calls the “intimate” theater style which translates, not coincidentally, into the standard style of realism.

Actors project theatrical performances according to the size of the space in which they’re working. In films, though, actors constantly adjust their performance within a single film according to the size of the individual shot. In Tucker’s schema, a mezzanine view in the theater is equivalent to a long shot in the cinema in which the entire human figure is visible; an orchestra seat in the middle of the house is akin to a midshot in which the human figure is seen from the waist up; a front-row seat is similar to a medium close-up shot from the chest up; and, finally, an extreme close-up shot has no parallel in the live theater (5–9).

The bigger the conflict, the more clamorous the voice” (Right to Speak 225). This louder, more emotional, ringing voice carries the message of the play, though it might not be in easily understood words. Harold Pinter observed an inverse relationship between emotion and speech years ago: “The more acute the experience the less articulate its expression” (11). The actor, then, in the great pitch of a turbulent drama, relies upon the emotional intensity of vowels to convey depths of feeling at the expense of intellectual consonants.

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