Word: dramatistic
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...mind games, games the mind plays on itself, games of war and politics, the exasperatingly intricate game of life-The Real Thing announces itself as just that: a real, straightforward play about matters of the heart, one that bathes in the mess of human emotions instead of applying the dramatist's laws of geometry and physics. "I'm sorry," says Henry in one of the play's most telling domestic exchanges. "What for?" asks his actress wife Annie (Felicity Kendal). "I don't know," he replies. Stoppard knows how to write love...
There are several reasons for Matthew Broderick to celebrate 1983. He won praise for his first movie, Neil Simon's Max Dugan Returns. He received absolute raves, as well as a Tony nomination, for playing the adolescent Simon in the dramatist's autobiographical hit, Brighton Beach Memoirs. "To Matthew," says a note from Simon on the actor's dressing-room wall. "After watching me on the stage, I never knew I was so cute and so talented." Critics are already applauding his portrayal of the computer genius who nearly starts World War III in War-Games, which...
...program notes quote Eliot: "It is not for the dramatist to produce an analyzed character, but for the audience to analyze the character...When the dramatist is creative, then the more creative the dramatist, the greater varieties of interpretation will be possible." If it is the job of the audience to interpret the play, each production must help the audience by focusing on one or two issues. Without this focus, what is richness in a script becomes overwhelming on stage...
Berlin's attention to O'Neill the dramatist leads to his insights into the plays excessive stage directions, scanty use of stage props. and reliance on repetitive sounds. Most of the characters. Berlin notes, reveal themselves through their stage manners and habits: Mary, the mother, is noted for her "extreme nervousness. Her hands are never still...
BERLIN DOES NOT NEGLECT the literary analysis necessary for a complete review of the dramatist. He devotes worthwhile space to examining the relationships between the characters in Long Day's Journey, presenting the two "parties" of the family, the two without illnesses who debate blame back and forth, and the Ill pair constantly trying to escape reality. He takes a more scholarly view as well, comparing O'Neill's use--and modern drama's--of alcohol and drugs for truth telling to the Elizabethans' similar use of madness. He emphasizes O'Neill's Beckettian use of time; the play progresses...