Word: monodrama
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...there has been a deal of unnecessary mystification, much of it "bunk" about this "theatre theatrical" about "the theatre of the soul" and "the souls of the theatre", about Monodrama and Melodrama, about Impressionism and Expressionism, about Physico-psychology and Psycho-analysis, about all the clashing symbols of the sexy saxophone. "Lampy" is justified in his jests about those followers of the Dramatic Club who take all this jargon too seriously. The fact is Evreinov himself preaches that nothing in life is to be taken seriously. That is his cardinal principle. His play is none of these "-isms...
Since the announcement of its Fall production by the Harvard Dramatic Club much has been written about Evreinov and the monodrama. This is as it should be for the name of Evreinov naturally is very closely associated with his pet theory. Yet in this particular instance it is well to clear up some possible misconception. While Evreinov is, of course, the champion of the monodrama it doesn't necessarily follow that he employs only that particular form as a means of expression. He is too good a showman not to know that the drama cannot be reduced to a strict...
This is what Evreinov means by theatricality, his companion theory of the monodrama. It means much more than the art of the theatre. It embraces a much wider field of human activity, originating, actually, in life itself and from there ascending to its highest expression on the stage. By theatricality he understands the power of transformation which he believes to be deeply rooted in human character. To appear what one is not, to transform life into a continuous performance is the ideal which should be set up by humanity. To put it in other words to escape the misery...
...cornerstone of monodrama is the living experience of the acting character on the stage, resulting in the similar living experience of the spectator, who through this act of coordinate living experience becomes one with the acting character. . . . The task of monodrama is to carry the spectator to the very stage so that he will feel that he is acting himself...
...does the room or the plain or the forest, the place of the appearance of the ghost, not change at the moment of suggestion of terror in his features: why do the coloring and light remain unchanged, just as if nothing had happened. This is not yet monodrama. Monodrama must present the exterior spectacle in correspondence with the internal spectacle. This is the whole essence...