Monthly Archives: November 2017

Introduction theory of drama Part 2

The methodological situation in modern theater, however, erratic and curious. To cite one example. In 2004, international conference, the famous German theater critic, author of three volumes of the “Semiotics of theatre” Erika Fischer Lichte gracefully and convincingly proved that the Director is not the author of the text. The deciding argument was the relationship […]

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Introduction theory of drama Part 1

Of the three words comprising the title of this work, explanations need all three. The preposition “to” in accordance with the directions of grammar, first, requires that the owner added “about…”, and, second, it captures the intention of the author to move in that direction, where, as it seemed, this question can be answered. Thirdly, and […]

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What is contemporary theatre?

Perhaps today in the theater you can see anything but classical performances with traditional decorations, the usual eye and ear acting with self-promotion in an unobtrusive directing. Illustrative performances long out of fashion. Theater struggling to find a new language, the most interesting is that this search takes place before our eyes. What to be […]

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Types of theater Part 4

As before, in this Chapter we only talked about the most simple and basic concepts. All are infinitely important and infinitely revealing private transient has been omitted. Meanwhile, there is a rich field. What, for example, the musical? It is called a genre, but as far as musicals are tragic and sometimes comic musical is […]

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Types of theater Part 3

Third of us overlooked areas of play is the language. And from this region it is now clear, too, must be learned criteria for the separation performances. And here, too, clear, mechanical, total “rightness” we can’t achieve. But at least, at least for that theatre, like music, not just “musical theatre of the living actor”, […]

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