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”, but any musical theater this criterion is absolutely essential. The contents and the Opera and ballet musical based on the music content, the roles extracted by the theatre of music as art. But in one case the role of sing, the other dance.
At the level of the language of musical theatre, at least, double vision. At the same time the languages of the two main branches of musical theatre, as we know, independent of art singing and dancing. Do you, in fact, is the case in the drama theatre? For example, not only the content role, but a substantial part of its language the words are donated literature.
Paradoxically, at first external glance “substantial” investment literature theatre mastered more than just a language. Of course, this is not quite so, it is rather the appearance that it is hardly possible to assert that the character plays tight overcooked stage role than written by a writer phrase the speaker of the actor. For all that, it is sufficient that the literature has given theatre a layer of language means exactly the same as singing gave the language the Opera and dancing ballet. And just as a standalone art became a language of pantomime theatre.
So, in principle, in several private cases, especially, the separation of the theatre on the types of forces we now define each of these types on the basis both of the three criteria content, linguistic and formal. Form, as we said, in all these cases refers to the whole integrity created by the actor on stage; the content describes the role of the. And the language of the actor: not just talking, but always speaking the words; singing; dancing. On the second “floor” that we found, we have to build on a third. So Opera is concept. If you need to be certain have to say, for example: theatre live singing musical role the actor. Unbearable cumbersome. But on the basis of clear criteria and, therefore, strictly.
Relationship between a dancing ballerina and a dancing doll of course. As well as the relationship lively dancing ballerinas and live dramatic actor, as well as organic intimacy between the dancing and the singing, if they dance and sing music. Three different kinship, and all undeniable.
In this case, it seems feature? Obviously as an integral. But three groups of factors linguistic, formal and content you cannot just “multiply”: species the plot is much more insidious. At the pantomime theatre you can only play the role of the notorious stump, we said. But that said, it seems contrary to common sense. Why in order to describe the “theatre of things”, should highlight substantive and not a formal criterion? Isn’t in the puppet theater thing can sing or speak the natural way? Most likely, Yes, in the puppet theatre. Only in this case before us is the thing that plays the role of a man, and the pantomime theatre the person playing the role of things.
There is another, strictly scientific reason in the logic of the division of theatre types. At this level there is a real opportunity to link among themselves the two sides of play two groups of characteristics: systematic structural element and content the formal language, the play as a work of theatre and performance as a work of art.
Types of theatre are defined in its specificity not only on the basis of the affiliation of their contents, forms and languages, but by what part of the system performance have in each case a decisive influence on the accessory. In one case, in the case of the tongue forward in the system performance nominated actor: he sings. When talking about content its specificity is stored in a role. The form is performed by the actor and the role together: there is the stage part of the performance; the stage, not the auditorium.
Maybe there are signs, differentiating the types in connection with the audience? It is possible, but it is, we are interested in artistic (and not sociological) point of view, anybody yet has not been investigated and openly.