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作者 Rutherford, Annabel L. M
書名 The dramatic use of pictorial structures in proscenium-arch plays: 1895--2009
國際標準書號 9780494756577
book jacket
說明 225 p
附註 Source: Dissertation Abstracts International, Volume: 72-09, Section: A, page: 3064
Thesis (Ph.D.)--York University (Canada), 2011
This dissertation explores the way structures and forms from pictorial art are represented in modern plays. They may be explicitly discussed in the dialogue, scenically presented, or embodied in characters, but the main focus -- and the most important aspect for interpretation -- is in terms of the way they are incorporated structurally. The focus of this dissertation is specifically on playwrights, not artists, and on plays, not art. It examines the playwright's response to a particular artist, painting, or paintings. It analyses modern plays, which in some way address the issues or adapt the structures of modernist art written to be staged in a proscenium-arch theatre. Since Medieval times, art and drama have shared a close affinity, but with the dawning of Modernism, this bond came into serious question. Since the abstraction, fragmentation, exclusion of the observer, and rejection of narrativity in modernist art forms were seen as antithetical to the physical and populist qualities of theatre, the two art forms were considered no longer compatible, and the affinities they had shared were thought to have ceased to exist. The plays have been deliberately selected because they focus on modern artists and, thus, add insight to the argument made against theatre by art critics during the mid-twentieth century. The plays analysed are: The Seagull by Anton Chekhov; A Dream Play by August Strindberg; Arcadia by Tom Stoppard; Stanley by Pam Gems; and Red by John Logan. Of these plays, this study asks: How is art portrayed in each of these plays? What is its purpose and function? How does the use of the artwork influence a specific play's structure? This dissertation seeks to revise and revisit the standard critical views of drama and pictorial art which occurred as a result of the analytical logic of modernist art. It is a counter-argument to art critics, demonstrating how the traditional links between art and theatre have indeed become a major theme of contemporary drama, and remain as strong in the twenty-first century as they were considered to be prior to the twentieth century
School code: 0267
Host Item Dissertation Abstracts International 72-09A
主題 Language, Modern
Theater
Theater History
0291
0465
0644
Alt Author York University (Canada)
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