The Symbolism Of Realism In Theatre

956 Words 4 Pages
Many people felt that Realism was not capable of revealing the whole truth. Realism could only show the physical flesh and blood world, the world of the five senses. Symbolists argued against Realism, saying that more significant aspects of truth are found in mystery and myth rather than reality. They advocated a drama composed of images and symbols, which would become known as Symbolism. Stephane Mallarme is acknowledged as the leader of the Symbolists. He only wrote two plays, but as a critic he wrote often about the theatre and the limitations he saw in Realism and Naturalism. He believed that language and imagery should take precedence in a production, that the poet must suggest instead of describe. He suggested a “detheatricalization” …show more content…
Paul Fort founded the Theatre d’Art where he presented works by 46 authors in two years. He would present a show only once, a one night only event. The productions were often not of great quality, but always ambitious. He was focused on music and lighting and would even have perfume spray to make the audience smell different scents. Arelian-Marie Lugne-Poe agreed to stage Pelleas and Melisande, but Fort backed out. Lugne-Poe trained as an actor at the Theatre Libre and when Fort backed out, Lugne-Poe opens the show at newly founded Theatre de l’Oeuvre. This theatre intended to familiarize foreign (non-french) drama and present the plays of young symbolist playwrights. They used little scenery or props and instead were more interested in lighting and the spoken …show more content…
Stanislavsky had seven basic elements in his system of acting as discussed in class. These elements are for the actors. First, The actor’s body and voice must be thoroughly trained. He would put his actors through a training program to do just that. Second, the actor must know and be trained in stage technique. Third, actors must be skilled observers of reality. To be able to observe real life and recreate real moments on stage. Fourth, actors must seek inner justification for everything they do on stage. This is done using the “magic if,” if this character were me, what would I do in this moment. Also, using emotion memory, analogous personal moments to the character. An actor finding a moment in their own emotional memories that relates to what the character may be feeling in a similar moment. Fifth, actors must analyze the script looking for given circumstances and the objective of the character. Also, finding the through line of the action. Sixth, when performing, actors must always give the illusion that these events are happening for the first time. Every time the character reacts to something onstage, it’s the first time that reaction has occurred, even if the play has been performed for a month. Seventh, actors must strive to perfect his or her understanding and proficiency as an actor. To always continue to learn, train, and grow as a performer and improving on all of the elements mentioned

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