The Sketch
Author:
Publisher:
Published: 1910
Total Pages: 756
ISBN-13:
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Author: Arthur Hobson Quinn
Publisher:
Published: 1927
Total Pages: 368
ISBN-13:
DOWNLOAD EBOOKAuthor: Romain Rolland
Publisher: Prabhat Prakashan
Published: 2020-01-01
Total Pages: 143
ISBN-13:
DOWNLOAD EBOOKTHE PEOPLES THEATER by Romain Rolland: Join Romain Rolland on a captivating journey into the world of theater, as he explores the profound impact of theater on society and the individual. Through insightful observations and personal experiences, Rolland sheds light on the transformative power of the stage, making a compelling case for theater as a powerful tool for social change and artistic expression. Key Aspects of the Book "THE PEOPLES THEATER": Theater and Society: Rolland delves into the relationship between theater and society, examining how theater reflects and shapes cultural norms and ideologies. Artistic Expression: The book celebrates the creative freedom and artistic potential that theater offers, discussing its role in challenging conventions and inspiring innovative storytelling. Social Change: Rolland highlights how theater can serve as a catalyst for social transformation, inspiring audiences to contemplate and confront critical issues. Romain Rolland was a French author, dramatist, and Nobel laureate born in 1866. His literary works often explored the complexities of human nature and the interplay between art and society. As an ardent supporter of social justice and cultural exchange, Rolland's writings reflect his belief in the power of the arts to foster unity and understanding among diverse communities.
Author: Arthur Hobson Quinn
Publisher:
Published: 1980
Total Pages: 832
ISBN-13:
DOWNLOAD EBOOKAuthor: Library of Congress
Publisher:
Published: 1968
Total Pages: 712
ISBN-13:
DOWNLOAD EBOOKAuthor: Romain Rolland
Publisher: Library of Alexandria
Published: 2020-09-28
Total Pages: 134
ISBN-13: 1465614001
DOWNLOAD EBOOKA curious phenomenon has occurred during the past ten years. French art, the most aristocratic of arts, has come to recognize the masses. French artists have, of course, known of the existence of the people before, but they have considered them only as subjects of conversation, as material for novels, plays, or pictures."An admirable subject to treat in Latin verses."But they never took the people into account as a living entity, a public, or a judge. The progress of Socialism has directed the attention of artists to this new sovereign whose politicians up to the present had been its sole spokesmen: authors and actors. And they have discovered the people—discovered, I venture to say, in much the same manner as explorers discover a new market for their wares. The authors wish to import their plays, the State its repertory, actors, and officials. It is a comedy in itself, with a part for each. This is not a fit subject for irony, for no one is quite exempt from its shafts. And we must take men as they are, nor seek to discourage their conscious or unconscious efforts to combine personal with public gain—provided the latter is assured. But such is the case; and from this movement which progresses so quickly that bad is bound to come hand in hand with good, and personal with public profit, I wish to call attention to but two points: first, the sudden importance assumed by the people in art (or rather, the importance ascribed to the people, for they never speak for themselves; everyone assumes the rôle of spokesman for them); and second, the extraordinary diversity of opinion as to the nature of democratic art itself.In fact, among those who claim to represent the aims of the people's theater, there are two diametrically opposed ideals: the adherents of the first seek to give the people the theater as it now exists, any theater so long as it is a theater; those of the second attempt to extract from this new force, the people, an entirely new theater. The first believe in the Theater, the others in the People. The two have nothing in common: one is the champion of the past, the other of the future.I need not tell you where the State stands. By its very definition, the State always belongs to the past. No matter how new the forms of life it represents, it arrests and congeals them. But you cannot fix life once for all. It is the function of the State to petrify everything with which it comes into contact, and turn living into bureaucratic ideals.
Author: Linzy Erika Dickinson
Publisher: BRILL
Published: 2021-11-08
Total Pages: 380
ISBN-13: 9004490655
DOWNLOAD EBOOKThis is the first study of Balzac's work to examine theatre in La Comédie humaine both as a theme in itself and for its influence on Balzac's techniques and modes of presentation in his novels, and to demonstrate the symbiotic influence of novel and stage on Balzac's work as a playwright and novelist. It will be of interest not only to students of Balzac, but also to students of nineteenth-century theatre and history. The introduction gives an account of Balzac's experience of the theatre; the first three chapters examine the historicity of Balzac's portrayal of the theatre world and how this portrayal serves his wider narrative purpose; the two following chapters demonstrate how and why Balzac relies on the theatre to provide a rich tissue of metaphor and bank of expressive devices with which to communicate his critique of society; finally the work shows how Balzac succeeded in bringing to the stage the same scrutiny of the capitalist ethos which underpins La Comédie humaine. An index of references to playwrights, plays, actors and stage characters in La Comédie humaine is given in an appendix.