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.
In a broad sense is a storyline and made for the stage performance. It can be verbal text (every piece of literature that includes parts recited or sung), or improvised by an actor, or in form of non-verbal narration, through gestures or dance. The period drama, if understood strictly, applies only to plays written. In opera, it usually occurs at the end of booklet.
A topic can have tragic drama or comedy, depending on the situations. In sense of common use instead, we tend to designate by this term painful events or life problems, or other events of tragic. Play can be represented by different types of media: live entertainment, film and television.
The liturgical drama, as opposed to classical one, does not adopt the criterion of three Aristotelian unities and is expressed in better shape pictorial representation. If the classical drama staged one done in a linear and in one place, the drama follows the medieval against the hero in all of its age: it is represented, for example, the time when Jesus resurrected Lazarus, but throughout the life of protagonist. Necessarily the scene becomes multiple, created by different scenes aligned and separated from each other by a compartment: the so-called "appointed places."
In eighteenth century, one sees a variety of comedies. Still exist comedy of intrigue and comedy of manners, such as The Game of Love and Chance Island or slaves Marivaux, but social criticism becomes more vigorous, as in Barber of Seville and The Marriage Figaro by Beaumarchais, works in which he openly criticized the aristocracy. Also appear tearful comedy, then the bourgeois drama, playing on emotion and sensitivity of spectators.
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.
In a broad sense is a storyline and made for the stage performance. It can be verbal text (every piece of literature that includes parts recited or sung), or improvised by an actor, or in form of non-verbal narration, through gestures or dance. The period drama, if understood strictly, applies only to plays written. In opera, it usually occurs at the end of booklet.
A topic can have tragic drama or comedy, depending on the situations. In sense of common use instead, we tend to designate by this term painful events or life problems, or other events of tragic. Play can be represented by different types of media: live entertainment, film and television.
The liturgical drama, as opposed to classical one, does not adopt the criterion of three Aristotelian unities and is expressed in better shape pictorial representation. If the classical drama staged one done in a linear and in one place, the drama follows the medieval against the hero in all of its age: it is represented, for example, the time when Jesus resurrected Lazarus, but throughout the life of protagonist. Necessarily the scene becomes multiple, created by different scenes aligned and separated from each other by a compartment: the so-called "appointed places."
In eighteenth century, one sees a variety of comedies. Still exist comedy of intrigue and comedy of manners, such as The Game of Love and Chance Island or slaves Marivaux, but social criticism becomes more vigorous, as in Barber of Seville and The Marriage Figaro by Beaumarchais, works in which he openly criticized the aristocracy. Also appear tearful comedy, then the bourgeois drama, playing on emotion and sensitivity of spectators.
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.
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