The classic dramatic works were not intended for publication, but only to representation; it follows that the key principle of classical theater was the pure representability of stories. There are no original manuscripts actually, since the content was continuously varied and modified (in case of actors, which eliminated or changed verses and often replace them with your own). There are no captions, except those implied or reproduced in ages posthumously as marginal notes: these are those really the captions "scenic", evoked by the word (Phoenix plays).
Finally, in twentieth century, some authors, such as Jean Anouilh Jean Giraudoux with Antigone or with Electra, show ancient myths. One sees the political theater, in which the authors put their philosophical ideas, as Albert Camus Caligula. Some writers like Ionesco react strongly to this absurd political theater by parts, in which the author depict scenes without apparent meaning to viewer think differently.
The religious currents - to remedy the corruption of morals - trying to reconcile the religious spirit of new with the old pagan forms. The result is the sacred representation: it traces its birth holy homily, when it becomes dialogic educational purposes and exhortation. A more valid argument traces the passion play in development of Roman liturgy, which is already in its pure form is filled celebration of dramatic elements (the sacrifice of Mass as a symbolic representation, in form of dialogue between the celebrant and assistants).
The liturgical drama is closely related to ritual is recited in Latin by priests who support the most diverse parts and change identity not through customs or physical transformations, as through a stylized exterior. In figure of priest-actor believers contemplate the coveted anticipation of coming of Christ on earth.
The play are mostly written in verse. We then distinguish two different genres: comedy - as, for example, L'Avare by Moliere, which was inspired by Plautus Aulularia - and tragedy - as, for example, Jean Racine's Phedre, inspired by Euripides . Many tragedies are inspired by mythology. However there are also more baroque genres, such as comedy-ballet or parts to machines.
The concept of drama and drama is related more to a dialogue not a monologue or a poem (although it could be etymologically related to any form of literature devoted to scene). It is the presence oft least one other actor in dialogue that can better express the main feature of drama: the contrast between at least two different elements. Bernard Shaw, introducing his first volume of plays, says: "There is no play without conflict." A conflict can also occur in a lightweight text, and is its backbone.
They are representations of an occasional nature, consisting of pseudo-ecclesiastical procession led by a boy dressed as a bishop; The procession from the church up to episcopate, in which the clergy and / or the true bishop blessed are fit and ridiculous parody. The bourgeois drama is a theatrical composition representing the characters of small and middle-class or wealthy classes citizens but do not belong to nobility, and describes his daily life, the trials and tribulations, aspirations. It developed in eighteenth and nineteenth centuries.
The main genres - tragedy and comedy - were also diversified by author and historical context, but maintained a common basis: the tragedy always represented a mythical argument (with a few exceptions of historical argument) and made use of style often solemn, as well as many stage machinery, while the play a great story or taken from everyday life. Do not forget the minor genres, such as farce or Roman mimes.
Finally, in twentieth century, some authors, such as Jean Anouilh Jean Giraudoux with Antigone or with Electra, show ancient myths. One sees the political theater, in which the authors put their philosophical ideas, as Albert Camus Caligula. Some writers like Ionesco react strongly to this absurd political theater by parts, in which the author depict scenes without apparent meaning to viewer think differently.
The religious currents - to remedy the corruption of morals - trying to reconcile the religious spirit of new with the old pagan forms. The result is the sacred representation: it traces its birth holy homily, when it becomes dialogic educational purposes and exhortation. A more valid argument traces the passion play in development of Roman liturgy, which is already in its pure form is filled celebration of dramatic elements (the sacrifice of Mass as a symbolic representation, in form of dialogue between the celebrant and assistants).
The liturgical drama is closely related to ritual is recited in Latin by priests who support the most diverse parts and change identity not through customs or physical transformations, as through a stylized exterior. In figure of priest-actor believers contemplate the coveted anticipation of coming of Christ on earth.
The play are mostly written in verse. We then distinguish two different genres: comedy - as, for example, L'Avare by Moliere, which was inspired by Plautus Aulularia - and tragedy - as, for example, Jean Racine's Phedre, inspired by Euripides . Many tragedies are inspired by mythology. However there are also more baroque genres, such as comedy-ballet or parts to machines.
The concept of drama and drama is related more to a dialogue not a monologue or a poem (although it could be etymologically related to any form of literature devoted to scene). It is the presence oft least one other actor in dialogue that can better express the main feature of drama: the contrast between at least two different elements. Bernard Shaw, introducing his first volume of plays, says: "There is no play without conflict." A conflict can also occur in a lightweight text, and is its backbone.
They are representations of an occasional nature, consisting of pseudo-ecclesiastical procession led by a boy dressed as a bishop; The procession from the church up to episcopate, in which the clergy and / or the true bishop blessed are fit and ridiculous parody. The bourgeois drama is a theatrical composition representing the characters of small and middle-class or wealthy classes citizens but do not belong to nobility, and describes his daily life, the trials and tribulations, aspirations. It developed in eighteenth and nineteenth centuries.
The main genres - tragedy and comedy - were also diversified by author and historical context, but maintained a common basis: the tragedy always represented a mythical argument (with a few exceptions of historical argument) and made use of style often solemn, as well as many stage machinery, while the play a great story or taken from everyday life. Do not forget the minor genres, such as farce or Roman mimes.
