By Zander Brietzke
Is theater quite lifeless? Does the theater, as its champions insist, quite supply a extra intimate adventure than movie? if that is so, how have adjustments in cinematic innovations and applied sciences altered the connection among level and picture? What are the inherent barriers of representing three-d areas in a two-dimensional one, and vice versa?
American Drama within the Age of Film examines the strengths and weaknesses of either the dramatic and cinematic arts to confront the traditional arguments within the film-versus-theater debate. utilizing well known variations of ten significant performs, Brietzke seeks to focus on the inherent powers of every medium and draw conclusions not only approximately how they vary, yet how they should range besides. He contrasts either level and picture productions of, between different works, David Mamet’s Glengarry Glen Ross, Sam Shepard’s True West, Edward Albee’s Who’s scared of Virginia Woolf, Margaret Edson’s Wit, Tony Kushner’s Angels in America, Tennessee Williams’s Cat on a sizzling Tin Roof, Arthur Miller’s Death of a Salesman, and August Wilson’s The Piano Lesson. In analyzing the twin productions of those works, Brietzke unearths that cinema has certainly stolen a lot of theater’s former thunder, through making drama extra intimate, and visceral than such a lot dwell events.
But theater continues to be important and issues enormously, Brietzke argues, although for purposes that run counter to some of the virtues typically attributed to it as an paintings shape, comparable to intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater by way of demanding these universal pieties and supplying a brand new serious paradigm, one who champions spectacle and simultaneity because the so much, now not least, very important parts of drama.