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Dramatic theory attempts to form theories about theatre and drama. Drama is defined as a form of art in which a written play is used as basis for a performance. [1]: 63 Dramatic theory is studied as part of theatre studies. [2] Drama creates a sensory impression in its viewers during the performance. This is the main difference from both poetry ...
Theatre studies (sometimes referred to as theatrology or dramatics) is the study of theatrical performance in relation to its literary, physical, psychological, sociological, and historical contexts. It is an interdisciplinary field which also encompasses the study of theatrical aesthetics and semiotics . [ 1 ]
The Theatre of the Grotesque was a twentieth-century dramatic movement. [1] It is a theatrical style that was developed as a derivative to the late eighteenth-century art movement 'Grotesque' and thus translates the themes and images of the grotesque art into theatrical practices.
Poetics is the earliest surviving Western work of dramatic theory. The earliest non-Western dramaturgic work is probably the Sanskrit work Natya Shastra (The Art of Theatre), written around 500 BCE to 500 CE, which describes the elements, forms, and narrative elements of the ten major types of ancient Indian drama. [11]
Realism was a general movement that began in 19th-century theatre, around the 1870s, and remained present through much of the 20th century. 19th-century realism is closely connected to the development of modern drama, which "is usually said to have begun in the early 1870s" with the "middle-period" work of the Norwegian dramatist Henrik Ibsen ...
Theatrical styles are influenced by their time and place, artistic and other social structures, and the individual styles of the particular artists. As theater is a mongrel art form, a production may or may not have stylistic integrity with regard to script, acting, direction, design, music, and venue.
The Modern Theatre Is the Epic Theatre’ incorporates early formulations of Brechtian conventions and techniques such as Gestus and the V-Effect (or Verfremdungseffekt). It employs an episodic arrangement rather than a traditional linear composition and encourages an audience to see the world as it is regardless of the context. [ 5 ]
The notion of postdramatic theatre was established by German theatre researcher Hans-Thies Lehmann in his book Postdramatic Theatre, [1] summarising a number of tendencies and stylistic traits occurring in avant-garde theatre since the end of the 1960s. The theatre which Lehmann calls postdramatic is not primarily focused on the drama in itself ...