tag:blogger.com,1999:blog-16876687.post114306677190412577..comments2024-02-27T16:59:54.089-05:00Comments on (The New) Theatre Ideas: A Lesson from Classical MusicUnknownnoreply@blogger.comBlogger6125tag:blogger.com,1999:blog-16876687.post-1143897725324854942006-04-01T08:22:00.000-05:002006-04-01T08:22:00.000-05:00I believe in my original post I said that I was no...I believe in my original post I said that I was not making a general rule, and that fourth wall realism is good for some things.Scott Waltershttps://www.blogger.com/profile/04177922467901223790noreply@blogger.comtag:blogger.com,1999:blog-16876687.post-1143849151764762212006-03-31T18:52:00.000-05:002006-03-31T18:52:00.000-05:00"If we really believe that theatre is about the ci..."If we really believe that theatre is about the circulation of energy between performer and spectator, it might be a good idea to write plays that allow that circulation to occur!"<BR/><BR/>Hmmm. Seems a bit of an overgeneralization to say that "fourth-wall plays are redundant" which implies that all of them are. Not so from my seat in the audience. <BR/><BR/>The connection with the audience is one that must be earned through a confluence of script, direction, set, lighting, sound and performance. <BR/><BR/>With all of those factors needing to be satisfied and complete the circuit that allows the circulation of the energy (your example!), it's no wonder that every or even a majority of plays don't achieve this laudible goal. <BR/><BR/>But for my theatre-going experience, more of these plays have done so far more often than plays where I was directly challenged. <BR/> <BR/>But hey, at the end of the day this debate sits on a subjective foundation so, to each her/his own.RB Ripleyhttps://www.blogger.com/profile/12547323293851263887noreply@blogger.comtag:blogger.com,1999:blog-16876687.post-1143149607272392742006-03-23T16:33:00.000-05:002006-03-23T16:33:00.000-05:00Sorry, that was me posting anonymously by accident...Sorry, that was me posting anonymously by accident.<BR/><BR/>I'd love to hear you elaborate on what you mean when you say you want playwrights to write plays that allow "the circulation of energy between performer and spectator" to occur. This can mean all sorts of things, yeah?Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-16876687.post-1143074120339828532006-03-22T19:35:00.000-05:002006-03-22T19:35:00.000-05:00No one gets pissed off when Les Demoiselles d'Avig...No one gets pissed off when <EM>Les Demoiselles d'Avignon</EM> don't stoop down to wink at you. Or are stiff when they bow. I always find it silly when an audience gets upset about how a professional artist does their job. If you think the job should be done differently do it yourself. If you don't have the courage to get on stage in front of thousands of people and bare your soul, stop complaining and buy a CD. Talk is not action is not change.Lucas Krechhttps://www.blogger.com/profile/08469955699164100835noreply@blogger.comtag:blogger.com,1999:blog-16876687.post-1143068912873755472006-03-22T18:08:00.000-05:002006-03-22T18:08:00.000-05:00Wow! Big, bold, and dangerous -- I feel all Samue...Wow! Big, bold, and dangerous -- I feel all Samuel Jackson all of a sudden. You made my day, anonymous!Scott Waltershttps://www.blogger.com/profile/04177922467901223790noreply@blogger.comtag:blogger.com,1999:blog-16876687.post-1143068284886311972006-03-22T17:58:00.000-05:002006-03-22T17:58:00.000-05:00This is a big, bold, dangerous statement about the...This is a big, bold, dangerous statement about theatre, and a tremendously important one. On the one hand, I agree completely and am starving for the kind of visceral experience we all want theatre to provide. On the other hand, I'm not convinced that a traditional, fourth-wall play can't make that kind of connection. Some of my favorite experiences in the theatre have been plays in which the actors never broke the fourth wall but still found a way to connect with the audience. <BR/><BR/>Let's not throw out the baby with the bathwater.Anonymousnoreply@blogger.com