My self ... is a dramatic ensemble. Here a prophetic ancestor makes his appearance. Here a brutal hero shouts. Here an alcoholic b...on vivant argues with a learned professor. Here a lyric muse, chronically love-struck, raises her eyes to heaven. Her papa steps forward, uttering pedantic protests. Here the indulgent uncle intercedes. Here the aunt babbles gossip. Here the maid giggles lasciviously. And I look upon it all with amazement, the sharpened pen in my left hand.LESSATTRIBUTION DETAIL »
I have come to believe ... that the stage may do more than teach, that much of our current moral instruction will not endure the t...est of being cast into a lifelike mold, and when presented in dramatic form will reveal itself as platitudinous and effete. That which may have sounded like righteous teaching when it was remote and wordy will be challenged afresh when it is obliged to simulate life itself.LESSATTRIBUTION DETAIL »
As a particularly dramatic gesture, he throws wide his arms and whacks the side of the barn with the heavy cane he uses to stab at... contesting bidders. With more vehemence than grammatical elegance, he calls upon the great god Caveat Emptor to witness with what niggardly stinginess these flinty sons of Scotland make cautious offers for what is beyond any question the finest animal ever beheld.LESSATTRIBUTION DETAIL »
Analogies between the stage and the screen assume that they deal with the same material. But they don't. The material of the scree...n is not actual objects but images fixed on the film. And the very fact that they have their being on film endows these images with properties which are never found in actual objects. For instance, on the stage the actor moves in real space and time. He cannot even cross the room without performing a definite number of movements. On the screen an action may be shown only in terminal points with all its intervening moments left out. Similarly, in watching a performance on the stage the spectator is governed by the actual conditions of space and time. Not so in the case of the movie spectator. Thanks to the moving camera he is able to view the scene from all kinds of angles, leaping from a long-distance view to a close-range inspection of every detail. It is obvious that with this extraordinary power of handling space and time--by elimination and emphasis, according to its dramatic needs--the motion picture can never be content with modeling itself after the stage.LESSATTRIBUTION DETAIL »
Compare ... the cinema with theatre. Both are dramatic arts. Theatre brings actors before a public and every night during the seas...on they re-enact the same drama. Deep in the nature of theatre is a sense of ritual. The cinema, by contrast, transports its audience individually, singly, out of the theatre towards the unknown.LESSATTRIBUTION DETAIL »
The dramatic art would appear to be rather a feminine art; it contains in itself all the artifices which belong to the province of... woman: the desire to please, facility to express emotions and hide defects, and the faculty of assimilation which is the real essence of woman.LESSATTRIBUTION DETAIL »
Blake and Goethe were individualists par excellence, uncompromisingly protective of their single vision. In both Faust Part II and... The Four Zoas, emphasis on the universality of the poet's message contrasts with the resistant texture of a compressed style and the striking complexity of the mythological machinery. Blake likes to emphasize that he is not writing for the simple-minded; Goethe takes a teasing pleasure in keeping philologists busy. Faust and The Four Zoas are dramatic epics of Humanity, but embodied in a mythic language whose uniqueness and quirkiness are jealously guarded. Blake never published The Four Zoas, though it culminates his early prophecies and provides the indispensable key to the later ones. And Goethe refused to allow Faust Part II to be printed in its entirety until after his death. Both poets postponed the public's discovery of their central works; secrecy was enforced as long as it could be.LESSATTRIBUTION DETAIL »
Both Eliot and Pound condense; their best verse is weighted--Pound's, with sensual experience primarily, and Eliot's with beliefs.... Where the mind's life is concerned the senses produce images, and beliefs produce dramatic cries. The condensation is important.LESSATTRIBUTION DETAIL »
The history of theater from the medieval period until the nineteenth century has been in large part a history of further and furth...er separations of the scene of dramatic action from the physical situation of the audience. Even as the subject matter--in the plays of Ibsen, Chekhov, and Strindberg--became more and more continuous with the life of the audience, the stage itself pulled in its apron, emphasized its proscenium, and became a room with an invisible fourth wall, allowing the audience to look in, while keeping it more definitely outside. The progress of film was the reverse. From the stylized and theatrical settings of the early dramas, silent films moved into greater and greater involvement with the actors. Previously the audience saw actors from a distance, with a sense of tableau and formal separation. Although they seemed to be like us, they were not: silent, hieratic, caught in frightened frenzies of comedy, tragedy, and melodrama.LESSATTRIBUTION DETAIL »
The theater-goer in conventional dramatic theater says: Yes, I've felt that way, too. That's the way I am. That's life. That's the... way it will always be. The suffering of this or that person grips me because there is no escape for him. That's great art--Everything is self- evident. I am made to cry with those who cry, and laugh with those who laugh. But the theater-goer in the epic theater says: I would never have thought that. You can't do that. That's very strange, practically unbelievable. That has to stop. The suffering of this or that person grips me because there is an escape for him. That's great art--nothing is self-evident. I am made to laugh about those who cry, and cry about those who laugh.LESSATTRIBUTION DETAIL »