A Complex Character In Machiavelli's Play

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In chapter two, Boal brings to bare the changes in theater during the transition from the medieval, feudal period and the renaissance, with the rise of a bourgeois middle class. He states that the bourgeois rose up due to their individual prowess and practicality, leading to the rise of the exceptional individual protagonist in theater. Machiavelli's plays propound the value of intellect separated from morality, through which characters get what they want. He talks about Machiavelli and Poetics of Virtu. The feudal abstraction where the ruling class dictating the content of the plays that were put up the state and the wealthy financed this productions hence will not permit content contrary to their rules and …show more content…
The "virtuous" characters believe in this idea, such as Ligurio, the practical central character who approaches all problems through his own intellect, without thought to morality. Ligurio is able to seduce the young Madonna Lucrezia Around that time people were concerned with making money and economizing and using cleverness to achieve their aims. In the third chapter, Boal compares Hegel and Bertolt Brecht. There is some misunderstanding which has to do with how certain words or terms are used. Hegel creates an idealistic theater, where moral characters act according to their individual, free wills. The character is like the subject of a sentence, the acting force that creates action. As we have seen in ‘Aristotle’s Coercive System of Tragedy’, invokes empathy in the spectator and this provokes, fundamentally, a delegation of power on the part of the spectator, who becomes an object in relation to the character: the spectator feels what happens to the characters will happen to him.. In Brecht's Marxist theater, the social roles of characters are emphasized. Characters reflecton society, which forces them into certain actions and behaviors. In Brecht's theater, the audience is called to action through an

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