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Wilder developed what is called 'theatricalism.' Its outstanding feature is its frank admission that the action on stage is a play, not the representation of actual life that realism purports to achieve. Wilder dissatisfied with the theatre in the 1920s because he was unable to lend credence to what he regarded as the childish attempts of the realistic theatre to be real. The drama, he said, is "based upon a pretense and its very nature calls out a multiplication of pretenses." What he objected to specifically in realistic stagecraft was the presence of properties and settings.
Wilder maintained that the theatre is a world of pretense. He contented that, since the theatre is a world of pretense straining toward a general truth, scenery and sets that tie the action to a specific time and place tend to deprive the audience of its participation and require them to accept the theatre as real even though they know it is not. He cited the great drama of Greece and China as evidence that scenery and sets are not necessary reality.
He was also supported by Peking Opera. The Peking Opera is a traditional Chinese theatre, which had only placards to identify the scenery. In Chinese drama a character, by straddling a stick, conveys to the audience that he is on horseback. In Japanese Noh play an actor makes a tour of the stage to show that he is making a long journey.
There are many similarities between theatricalism and Peking Opera. First, due to no definite scenery, Peking Opera and theatrical drama can be reproduced in almost any country. Second, they break with realism and demand that the audience use its imagination for the sets and stage by using bare stage. Third, a stage manager or a storyteller appears in each scene and explains everything. Lastly, they share the same theme. They have universal subjects, such as the value of trivial things in daily life. In view of these things, Our Town is the representative play which shows the characteristics of theatricalism.
Wilder maintained that the theatre is a world of pretense. He contented that, since the theatre is a world of pretense straining toward a general truth, scenery and sets that tie the action to a specific time and place tend to deprive the audience of its participation and require them to accept the theatre as real even though they know it is not. He cited the great drama of Greece and China as evidence that scenery and sets are not necessary reality.
He was also supported by Peking Opera. The Peking Opera is a traditional Chinese theatre, which had only placards to identify the scenery. In Chinese drama a character, by straddling a stick, conveys to the audience that he is on horseback. In Japanese Noh play an actor makes a tour of the stage to show that he is making a long journey.
There are many similarities between theatricalism and Peking Opera. First, due to no definite scenery, Peking Opera and theatrical drama can be reproduced in almost any country. Second, they break with realism and demand that the audience use its imagination for the sets and stage by using bare stage. Third, a stage manager or a storyteller appears in each scene and explains everything. Lastly, they share the same theme. They have universal subjects, such as the value of trivial things in daily life. In view of these things, Our Town is the representative play which shows the characteristics of theatricalism.
목차
Ⅰ. 서론
Ⅱ. 연극주의의 기본 조건
Ⅲ. 빈 무대의 사용
Ⅳ. 무대 감독의 활용
Ⅴ. 소품의 생략과 마임 연기
Ⅵ. 결론
인용문헌
Abstract
참고문헌 (14)
참고문헌 신청
[학술지(정기간행물)] - / 1993 / ꡔ경극과 매란방ꡕ 지성의 샘
[학술지(정기간행물)] - / 1996 / 중국 고전극 연구=中國 古典劇 硏究
[학술지(정기간행물)] - / 1982 / A Critical Introduction to Twentieth Century American Drama Vol
[학술지(정기간행물)] - / 1999 / The Social Realism of Our Town:A Study in Misunderstanding:Thornton Wilder: New Essays
[학술지(정기간행물)] - / 1998 / Wilder's Tragic Themes: Readings on Thornton Wilder : 60 ~ 67
[학술지(정기간행물)] - / 1996 / 중국 고전극 연구=中國 古典劇 硏究
[학술지(정기간행물)] - / 1982 / A Critical Introduction to Twentieth Century American Drama Vol
[학술지(정기간행물)] - / 1999 / The Social Realism of Our Town:A Study in Misunderstanding:Thornton Wilder: New Essays
[학술지(정기간행물)] - / 1998 / Wilder's Tragic Themes: Readings on Thornton Wilder : 60 ~ 67
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