The Proscenium Arch - A Representation of our Anxiety within the Theatre?

Nonfiction, Entertainment, Theatre, Performing Arts
Cover of the book The Proscenium Arch - A Representation of our Anxiety within the Theatre? by Francis Grin, GRIN Verlag
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Francis Grin ISBN: 9783640234271
Publisher: GRIN Verlag Publication: December 17, 2008
Imprint: GRIN Verlag Language: English
Author: Francis Grin
ISBN: 9783640234271
Publisher: GRIN Verlag
Publication: December 17, 2008
Imprint: GRIN Verlag
Language: English
Scientific Essay from the year 2008 in the subject Theater Studies, Dance, grade: H1, University of Melbourne, course: Architecture, Space, and Theatre, 10 entries in the bibliography, language: English, abstract: The frontal set-up of the proscenium arch now marks a central point of debate regarding the nature of representation within the theatre. The proscenium's frontal architectural form seems to l ave little room for discussion as it detaches the spectator from the performance through the employment of the fourth wall. This lack of discussion has repeatedly been blamed for the reestablishment of traditional bourgeois values and hegemonic sign-systems within the theatre. (Heuvel 1992) Hence, the 20th century was more than happy to embrace the multitude of theatrical innovations as new staging concepts stirred away from the 'antiquity' of the proscenium arch, moving into a new and exciting artistic terrain that involved theatre in the round, environmental theatre, etc. (Heuvel 1992) These innovations celebrated the theatre as an interactive experience between the actors and the audience, liberating the stage from the 'dull' frontal viewing that the proscenium arch had seemed to chain itself to. Representation within these emerging theatre styles evolved into a state of 'experiencing the image' rather than merely 'viewing it' and the audience was now able to play an active role, allowing them to interact/question the sign systems on stage. Oddly enough, the proscenium still seems to be the most ommon form of staging within our Western theatre culture. Realistic, Epic, and the Post-modern Theatre of Images mark three of the most historically significant genre's within the theatrical movement, yet, these three styles predominantly employ the proscenium arch as a theatre space. Their regressive use of this staging has at times been considered reactionary, leading to anxieties about a backlash within the theatrical movement. While for some, the use of the proscenium may signify an artistic backlash, I would argue that the proscenium has undergone a crucial range of adaptations; signifying the constant evolution of representation within the theatre. Through a discussion regarding the development of the proscenium arch within the genre's of Realistic, Epic, and post-modern theatre, we can see how this staging has been able to manipulate its frontal frame as it, often successfully, responds to our constantly changing environment.
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Scientific Essay from the year 2008 in the subject Theater Studies, Dance, grade: H1, University of Melbourne, course: Architecture, Space, and Theatre, 10 entries in the bibliography, language: English, abstract: The frontal set-up of the proscenium arch now marks a central point of debate regarding the nature of representation within the theatre. The proscenium's frontal architectural form seems to l ave little room for discussion as it detaches the spectator from the performance through the employment of the fourth wall. This lack of discussion has repeatedly been blamed for the reestablishment of traditional bourgeois values and hegemonic sign-systems within the theatre. (Heuvel 1992) Hence, the 20th century was more than happy to embrace the multitude of theatrical innovations as new staging concepts stirred away from the 'antiquity' of the proscenium arch, moving into a new and exciting artistic terrain that involved theatre in the round, environmental theatre, etc. (Heuvel 1992) These innovations celebrated the theatre as an interactive experience between the actors and the audience, liberating the stage from the 'dull' frontal viewing that the proscenium arch had seemed to chain itself to. Representation within these emerging theatre styles evolved into a state of 'experiencing the image' rather than merely 'viewing it' and the audience was now able to play an active role, allowing them to interact/question the sign systems on stage. Oddly enough, the proscenium still seems to be the most ommon form of staging within our Western theatre culture. Realistic, Epic, and the Post-modern Theatre of Images mark three of the most historically significant genre's within the theatrical movement, yet, these three styles predominantly employ the proscenium arch as a theatre space. Their regressive use of this staging has at times been considered reactionary, leading to anxieties about a backlash within the theatrical movement. While for some, the use of the proscenium may signify an artistic backlash, I would argue that the proscenium has undergone a crucial range of adaptations; signifying the constant evolution of representation within the theatre. Through a discussion regarding the development of the proscenium arch within the genre's of Realistic, Epic, and post-modern theatre, we can see how this staging has been able to manipulate its frontal frame as it, often successfully, responds to our constantly changing environment.

More books from GRIN Verlag

Cover of the book Maria im Judentum. Die Mutter Jesu als jüdische Frau und ihr Erscheinen in jüdischen Quellen by Francis Grin
Cover of the book Analyse eines ethnisch-religiösen Konflikts: Der Indien-Pakistan-Konflikt by Francis Grin
Cover of the book Die Anthropologie im 'Leviathan' von Thomas Hobbes by Francis Grin
Cover of the book Technische Dokumentation - Bindeglied zwischen Produkt und Benutzer by Francis Grin
Cover of the book Welche Herausforderungen bringt eine Familiäre Bereitschaftsbetreuung mit sich? by Francis Grin
Cover of the book Das Sachleistungsprinzip und seine Einschränkungen in der gesetzlichen Krankenversicherung by Francis Grin
Cover of the book Unmanned Aerial Vehicles (UAVs) in combat by Francis Grin
Cover of the book Einführen in die Rechnungseingangsprüfung - Prüfen von Wareneingangsrechnungen (Unterweisung Bürokaufmann / -kauffrau) by Francis Grin
Cover of the book Die Entwicklungshilfe der Europäischen Union für die Balkanländer-Ziele, Umsetzungsprobleme by Francis Grin
Cover of the book Ethische Verantwortung: Wie frei ist der Journalismus? by Francis Grin
Cover of the book Coming Out - Eine Recherche im YouTube-Archiv by Francis Grin
Cover of the book Johannes Calvins 'Antidotum' gegen das Rechtfertigungsdekret des Trienter Konzils (1547) by Francis Grin
Cover of the book Selbstselektion bei Aktienoptionsplänen by Francis Grin
Cover of the book Klassifikation, Prävalenz und Ursache von Verhaltensauffälligkeit by Francis Grin
Cover of the book Gesellschafterhaftung und Handelndenhaftung in der Vor-GmbH by Francis Grin
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy