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Aristotle's work on aesthetics consists of the Poetics, Politics (Bk VIII), and Rhetoric. [8] The Poetics was lost to the Western world for a long time. The text was restored to the West in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes. [9]
Aristotle's use of the term opsis, as Marvin Carlson points out, is the "final element of tragedy," but the term "receive[d] no further consideration". [3] Aristotle discusses opsis in book 6 of the poetics, [4] but only goes as far as to suggest that "spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of ...
Drama creates a sensory impression in its viewers during the performance. This is the main difference from both poetry and epics, which evoke imagination in the reader. [1]: 63 [3]: 202–203 Dramatic theory was already discussed in the Antiquities p.e. by Aristotle in Ancient Greek and Bharata Muni (Natyasastra) in Ancient India. Some tried to ...
In the 4th century BCE, Aristotle wrote his Poetics, in which he analyzed the principle of action or praxis as the basis for tragedy. [15] He then considered elements of drama: plot (μύθος mythos), character (ἔθος ethos), thought , diction , music , and spectacle (opsis).
Aristotle taught that tragedy is composed of six elements: plot-structure, character, style, thought, spectacle, and lyric poetry. [157] The characters in a tragedy are merely a means of driving the story; and the plot, not the characters, is the chief focus of tragedy.
Aristotle's analysis in what was known as the ‘Poetics’ is the “thesis, with epic theatre the antithesis”. [11] The parallel between Marxist theory and epic theatre shapes the overall approach to representing the marginalisation of the proletariat class structure and aims to signify their peripheral maltreatment via a visual dialogue. [5]
Aristotle wants to avoid the hypothetical consequence of Plato’s critique, namely the closing of theaters and the banishment of actors. Ultimately Aristotle’s attitude is ambivalent; he concedes that drama should be able to exist without actually being acted. [4]
In classical rhetoric and poetic theory, decorum designates the appropriateness of style to subject. Both Aristotle (in, for example, his Poetics) and Horace (in his Ars Poetica) discussed the importance of appropriate style in epic, tragedy, comedy, etc. Horace says, for example: "A comic subject is not susceptible of treatment in a tragic style, and similarly the banquet of Thyestes cannot ...