Theatre
The term theatre it derives from the Greek theatron, and it is used in various meanings that can want to send back of time in time to the teatrale rappresentazione, to the text that the guide, toarchitettuta that it accommodates it, and more in a generalized manner to the art shape that all this contains and uses. As whichever other artistic and cultural shape also the theatre is evoluto from the origins to our days, in various shapes for ages and places.
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The Greek theatre
To the base of tragedy like of commedia in the ancient one Greece there are myth and the ritual, legacies to the cult of a God, the exaltation of a hero, common patrimony and center of the foundations of the Greek civilization, constituent the seed of first elevated teatrale shape of the history.
The tie between Greek theatre and ritual is always present in every period of the Greek history, to new evidence the custom, before the beginning of whichever rappresentazione, to carry in scene it plows and to officiare religious rituals. In Poetica of Aristotle, where the more important news is contained on the origin of the theatre in Greece, the commedia is asserted that the tragedy is born from the "singers of the ditirambo" and from the "singers of the phallic songs". ditirambo it is a religious ritual dedicated to Dioniso. The phallic songs or falloforie, they are propiziatori rituals for the fertility that constavano of songs of licenzioso argument, always sings to you in the festivities in honor of Dioniso.
The Greeks considered the theatre not like a simple occasion of divertimento and escape from the quotidianità, but more rather like a place where pòlis (the city) gathered in order to celebrate ancient history of the myth, common patrimony of the citizenship, than the Greek spectator it knew, with to all the specific information on the show deducted from the Proagòn. That that could not know was like the vicissitudes of the myth, codified from the tradition, they would have been newly interpreted and declined from the dramatist. The Greek spectator oed to theatre in order to learn religious garnishments, in order to reflect on the mystery of the existence, in order to strengthen the sense of the civic community.
The theatre had therefore the valence of a moral and religious activity to assimilate to true and just a ritual; it is not a case, then, than the clergyman of the God Dioniso it seated on the seat centers them of the theatre, than thumele (an altar sacrifices them) made part of the indispensable equipment of the teatrale building, but above all that the rappresentazioni made part of the numerous festivities in honor of of i, in particular of Dioniso, that they reran between the winter and the beginning of the spring. The theatre is considered an instrument of education in the interest of the community, tant' is that they give Pericle in then it is the treasury of the state to reimburse the price of the ticket.
The Latin theatre
Main article: Latin theatre
The main teatrali kinds roman are, in origin, of Greek import: palliata and coturnata. The authors roman not only introduce their works as acclimatized in Greece, but also like derivatives from precise and recognized Greek models, that it presupposes a public one picked in a position to picking the finenesses of the adaptations and carrying out a comparison with originates them to it Greek. One palliata and one coturnata roman are also developed, said respective togata (or trabeata) and praetexta. It was said togata, in generic sense, whichever teatrale work of roman acclimatization; for more one commedia, distinguished from more popular comic kinds, which the atellana and the mimo. The tragedy (praetexta) of roman argument is renewed in the events, considering made historical. tabernaria it was instead a comic work of roman acclimatization. The popular kind of the atellana has been approached to the commedia of the art.
The institution of publics shows organizes to you from the roman State had great importance. The character be them and official of the organization makes yes that the committenti of the teatrali works are the authorities.
The theatre in the Middle Ages
You see the voice main: Medieval theatre
After the fall of the roman Empire it seemed that the theatre was destined not to exist more. , by now diffused in all Europe, it does not appreciate the quite scomunica Theatre and the actors. To this situation, but, they survive i giullari, eredi of the mimo and of atellana farce. They entertain people in the cities and the campaigns with songs and acrobatics and hangs on they the sentence of the church which, from the song its, gives origin to an other shape of Theatre: religious drama, for means of which the faithfuls, often illiterate, learn the crucial episodes of .
The theatre in the Rinascimento
(section to develop)
The theatre of XVII the century
The 1600's it was a century of gold for the theatre. In nacque and one consolidated theatre classic that, based on the respect of the presumed ones aristotelian units, it was developed after 1630 with the great tragedies of Corneille and Racine, and with the commedie of Molière.
In Spain the profane theatre, stranger to the aristotelian norms and of moraleggiante formulation, knew an intense closing in the first half of the 1600's with authors which Lope de Vega, Calderón de the Boat, Tirso de Molina.
Elisabettiano theatre
You see the voice main: Elisabettiano theatre.
In England, between the two centuries, it bloomed elisabettiano theatre, whose maximum representative was Shakespeare. The topics of tragic the elisabettiano repertorio, vary and complexes, were inspire you to the Greek and Latin tradition, but also to the English history. Contravvenendo to the rinascimentali rules approximately the purity of the dramatic kinds us, in the structure of the tragedies was inserted moments and typical tones of the commedia, while this last one with the years was colored of gloomy inks, tragic.
The theatre of XVIII the century
During The 1700's the renewal and the experimentation were manifested also in the theatre, with the revaluation of word, with the exception of how much it happened in Commedia of the Art, in which a word soggiaceva to the gestuale communication or it was shrunk in a poor espressività, or in , it was dissolved in music.
The theatre of ` the 700 was characterized from the always greater importance attributed to recitazione. They were capacities on the scene personages from complex and conflicting, that they demanded to the interpreters the ability to live again passions and emotions intimately, in order to express them in convincing way on the scene. The authors renewed the topic oflove in a rich range of shadings and situations, giving life to a theatre that originated the nineteenth-century bourgeois drama. In Italy, it replaced to canovacci and the indeterminata acclimatization of the shows of the Commedia of the Art a written text and one defined scene, while it developed the tragic kind, deepening the moral crash between the figure ofhero and that one of tyrant. The Commedia of the Art, developed in Italy in the course of the 1500's, and diffused in all Europe, divenne much popular in France, where it was recited from the actors of Comédie-Italienne. The actors improvised also short scenes characterize them with struck and lazzi, often reaching from repertori. In XVII century, the governments of and they tried to censure and prescribed this teatrale shape, but it was just in France that the commedia had the greater infuence, inspiring much part of the theatre of the greater French commediografi. In ` the 700, in Italy, Goldoni obligated the masks gradually to refer to a written text, rinunciò to the easy buffonerie and inserted the action in the bourgeois and mercantile context. For the tragedy it goes remembered Pier Iacopo Hammer (1665-), that rifà to the French theatre of the 1600's. In many its tragedies use a back of fourteen sillabe, rework of the dodecasillabo French (towards constituted of twelve sillabe, uniforms from one cesura after the sixth, typical one of the French dramatic poetry. Hammer, than of it it made a settenario double, it used it for its tragedies and for this it is called "martelliano"). The 1700's it saw also the reform of the melodramma. From the collaboration of the librettista Calzabigi, (–) with the Gluck musician, reform of the attended musical theatre began one gives along time: the structure of the dramas was simplified and it interlaces it rendered more comprehensible and reduced to little scenes for every action. The radical contrast between airs and recited to you, typical of the previous theatre, was vanished to advantage of the dramatic continuity and the arguments, reached to mythology, were are covered of meant ethical and pedagogical in agreement with the didascalica conception of the theatre a beloved to the illuminismo. With the structure of the booklet defined on the metric plan with the distinction between recited and airs to you, the language and the Italian literature they acquired, in the 1700's, an international spread and above all caught up also popular layers (in the 1800's). The melodramma, that already it had been object of an attempt of regulation from part of Zeno Apostle, it found its greater interpreter in Peter Metastasio, that the reform of the theatre by means of compositive solutions elaborated and assigning to the word the prominence on music and the other elements of the show. Metastasio created a new poetico sentimentale language that, impostosi thanks to the comunicativa facility, influenced Goldoni that, from the arcadica culture derived the riformatrice request, applying it to the Commedia of the Art (popular theatre), but above all learned the lesson of a simple and comunicativa language, as well as that its witnesses resists still today, like no other of the 1700's. It created a realistic theatre and popular able to fascinate for the lightness of I interlace and the vivacità of the invention. In the century of the reforms, also the tragedy, lofty kind extremely regulated and considered, that it had given dignitose tests, was developed. Scipione Maffei ( -), it contributed to the reform of the Italian theatre with deals theoretical and four teatrali works to you: two commedie, a pastorale drama and the tragedy Merope (), point of departure for the reform of the tragic theatre. It was necessary but the insofferente temperament of an intellectual to the perpetual search of if same, , in order to make of the tragedy the expression of a modern libertaria tension, than whichever was realized in the conflict between the tyrant ( authority principle, also inner) and the free man who asserts the own dignity and freedom with died. Tyrant and free man coexist, to times, in the same person and the tyrant can be the uncontrollable inner force of a feeling. Flagmen accepted the rigid conventions of the sort tragic and indeed she exasperated to them, concentrating the action within a fixity temporal space that expresses the atemporalità of the drama. Its works contributed to educate the generations risorgimentali.
The theatre of XIX century
The European theatre to the beginning ofThe 1800's it was dominated from romantico drama. The romantici ideals came exalt to you in particular way in Germany. In romanticismo it is situated Johann Wolfgang von Goethe, that it saw in the art the better way in order to give again dignity to the man. Of the romantici ideals and neoclassici many tragedies of historical subject were nourished or mitologico, analogous acclimatizations returned also in . In England, in France and Italy, concomitanza with the birth of naturalismo and of verismo (perennial search of the truth in objective way), around to the half of the century the great tragedies will yield the place to bourgeois drama, characterized from domestic topics, I interlace very to constructed and skillful use of the dramatic espedienti us. Between the greater exponents of the verista theatre we have Giovanni Verga.
The theatre of The 1900's
The 1900's it is opened with the copernicana revolution of the centralità of the actor. The theatre of the word is transformed in theatre of the physical action, the gesture, the interpretativa emotion of the actor. The theoretical job of Kostantin Sergeevi? Stanislavskij and of its students Vsevolod Emil' evic Mejerchol' d on all, that one of Antonin Artaud, the drammaturgia of Bertolt Brecht and Samuel Beckett they radically modify the approach to the putting in scene and determine a new via to the theatre. The infuence of these masters on the teatrale movement of the post-war period is immense, pack-saddles to think next to the theatre Odin of Eugene Beard, to the poor theatre of Jerzy Grotowski, to the physical theatre of Living Theater of Julian Beck and Judith Malina, until the applications "it trades them" ofActor' s Study of Adler Star and Lee Strasberg (from which they come , To The Pacino, Robert De Niro).
The contemporary theatre (after 1940)
The 1900's it is opened with the copernicana revolution of the centralità of the actor. The theatre of the word is transformed in theatre of the physical action, the gesture, the interpretativa emotion of the actor. The theatre becomes utopy: through a called physical training training, the actor succeeds to free the hidden part of if same from the many rules of the culture in which he lives (second nature), in order to put itself in contact with the instinctive nature, that able nature to answer in efficient and immediate way to the various chances that are introduced in the life, and therefore, also on the stage, this second nature will be the instrument of the actor in order to become creative, therefore artist. The theatre of the ' 900 wants to lose the priority of the show, in the sense that to exhibit itself of forehead to a public one must be only one member of the theatre and not the same theatre: the job of the actor happens before on if same like man and then like professional. The theoretical and practical job of Kostantin Sergeevi? Stanislavskij and of its students Vsevolod Emil' evic Mejerchol' d on all, that one of Antonin Artaud, the drammaturgia of Bertolt Brecht and Samuel Beckett they radically modify the approach to the putting in scene and determine a new via to the theatre. The infuence of these masters on the teatrale movement of the post-war period is immense, pack-saddles to think next toOdin Teatret of Eugene Beard, to poor theatre of Jerzy Grotowski, to physical theatre of Living Theater of Julian Beck and Judith Malina, to the neorealista theatre of Edoardo De Filippo, until the applications "it trades them" ofActor' s Study of Adler Star and Lee Strasberg (from which they come Marlon Brando, To the Pacino, Robert De Niro).
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