Each of them started as a stage actor but is better known for being an Academy Award-winning film actor. Clearly, using these actors as examples leads to the conclusion that the acting skills learned in the theatre can translate to film. Put another way, acting is acting, whether you are on stage or in front of a camera. However, there are key differences between the stage and the screen that need to be understood.
Stage Drama all mixed-up at the moment Elements of Stage Drama Stage drama is written to be performed on stage. These conventions are conveyed in stage drama via: Tragedy then, is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions.
Aristotle identified six basic elements: According to Aristotle, the central character of a tragedy must not be so virtuous that instead of feeling pity or fear at his or her downfall, we are simply outraged.
Also the character cannot be so evil that for the sake of justice we desire his or her misfortune. Instead, best is someone "who is neither outstanding in virtue and righteousness; nor is it through badness or villainy of his own that he falls into misfortune, but rather through some flaw [hamartia]".
The character should be famous or prosperous, like Oedipus or Medea. What Aristotle meant by hamartia cannot be established. In each play we read you should particularly consider the following possibilities.
Of course you are free to decide that the tragic hero of any play, ancient or modern, does not have a hamartia at all. The terms hamartia and hubris should become basic tools of your critical apparatus.
Tragedies should not be episodic.
That is, the episodes in the plot must have a clearly probable or inevitable connection with each other. This connection is best when it is believable but unexpected.
Complex plots are better than simple plots. Complex plots have recognitions and reversals. A recognition is a change from ignorance to knowledge, especially when the new knowledge identifies some unknown relative or dear one whom the hero should cherish but was about to harm or has just harmed.
A reversal is a change of a situation to its opposite. Consider Oedipus at the beginning and end of Oedipus the King. Also consider in that play how a man comes to free Oedipus of his fear about his mother, but actually does the opposite.
Recognitions are also supposed to be clearly connected with all the rest of the action of the plot. Suffering some fatal or painful action is also to be included in a tragic plot which, preferably, should end unhappily. The pity and fear which a tragedy evokes, should come from the events, the action, not from the mere sight of something on stage.
The meaning of this phrase is extremely debatable. Among the many interpretations possible, consider how well the following apply to our plays: The word tragedy can be applied to a genre of literature. Irony, therefore, is essential and it is not surprising that dramatic irony, which can so neatly emphasize irony, is common in tragedies.
Tragedy implies a conflict between human goodness and reality. Many scholars feel that if God rewards goodness either on earth or in heaven there can be no tragedy. If in the end each person gets what he or she deserves, tragedy is impossible. Tragedy assumes that this universe is rotten or askew.
Christians believe that God is good and just, hence, for certain scholars tragedy is logically impossible. Of course a possible variation of the tragic concept would allow a character to have a fault which leads to consequences far more dire than he deserves.
But tragic literature is not intended to make people sad. It may arouse pity and fear for the suffering protagonist, or for all humanity, especially ourselves. But usually it also is intended to inspire admiration for the central character, and by analogy for all mankind.
When discussing the characters you must be able to: When we look at the words of the play we can see that characters are created by: The way they speak What they say about themselves What they say about each other How they are contrasted Stage directions.There are many ways to paginate a play, from the straightforward numerical sequence of “1, 2, 3” to an older but still useful format of “I” (meaning “Act 1, Scene 2, Page 16”).
Final Draft allows a writer to use any of the above options. In my view, the crucial similarities and differences between film and theatre are to do with the acting. Or, I should really say, the performances. The other night an old friend of mine, an actor called Kevin Hely, called around to my house in Dublin.
This morning, just as every morning, I got the privilege to see the sun rise up over the horizon as I traveled down the freeway. Driving at four o clock was never much fun, but had become a part of my everyday life. In precisely fifty-five minutes I would reach the film studio, at which I w.
Clearly, using these actors as examples leads to the conclusion that the acting skills learned in the theatre can translate to film.
Put another way, acting is acting, whether you are on stage or in front of a camera. However, there are key differences between the stage and the screen that need to be understood.
The third difference between stage and TV/Film is the iconic nature of the characters and celebrated performances of those characters.
The audience and critics will compare you to past versions of. Conventions of plot, theme, setting and character, with which we are more familiar in narrative forms of fiction, non-fiction, and even film and television, are realised differently in stage drama.
These conventions are conveyed in stage drama via.