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The text summarizes major trends in interpreting Othello, and then shows a possible new angle to it, by applying findings from E. M. W. Tillyard's study The Elizabethan World Picture.
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Theater is the one of the oldest arts. With the advancement of technology at the end of the 19th century, theatrical art gained its antipode - film art, which strives to take over theatrical achievements and certain already learned principles. The initial hypothesis of the work is that although the basis are similar, theater and film, along with different directions of development and the technology on which they are based, have developed different spatial and acting solutions that lead to different artistic results. The key research question is how and which elements of theater directing get a different implementation on film. The aim of the paper is to determine which approaches in the theatrical solution of space get a reduced form in the film and which are not only technical, but also of an acting nature. The examination is performed using various methodological apparatuses, primarily historiographical and comparative analysis.
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In a comparative analysis of Moliere's Tartuffe and Shakespeare's Measure for Measure, the author examines the elements of plot composition, showing that writers use different motivational procedures to explain the relationships between dramatic characters. In other words, the motivation comes from scenic, theatrical reasons, and not from the logic of dramatic actions. The common denominator for both dramatic texts is the deus ex machina, the solution that brings the end of the theatrical play to the expected, but no doubt, to "lame happy ending" that, according to the established custom, belongs to comedy.
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