Development of Thetrical Text From Classical Period
Aristotle was the first person to describe theatre theory, he also was the first who social and spiritual interpretation of text. He first classified, described and moreover produced a clear idea which way theatre is structured. According to Aristotle text is representation. It is important to look at the perceived reality and study it particularly. Aristotle rejected Plato's theory of forms and moved to the theory being. He did so by observing reality, analyzing it and finally classifying. For Aristotle poetry is an object of studying like any other phenomenon, it is a useful representation (involving intellectual process, process of identification) of reality, it arouses emotion and brings purification of reality. Poetry represents what people would say or would do, thus clarity of causes and effects. Tragedy, through pity and fear, accomplishes the catharsis of emotions. Tragic catharsis, however, cannot be reduced to the purgation of the emotions. As Aristotle put the catharsis clause at the end of the definition of tragedy, catharsis must be the final cause of making tragedies and represent the proper effect of the tragedy. On the other hand, catharsis as purgation of emotion is an automatic process on the side of the a
Castelvetro became one of the leading linguists of his day. His grasp of the historical evolution of Italian is demonstrated in his Giunta fatta al Ragionamento di Messer Pietro Bembo (1563) and in his commentaries on Petrarch's Rime and on the first part of Dante's Inferno. He also translated and wrote an influential commentary (1570) on Aristotle's Poetics, and named his book: "Poetics of Aristotle", but he completely reinterpreted Aristotle another words a lot of contradictions were made. He focused mainly on tragedy. Castelvetro propounds a doctrine of imitatio that is essentially a stern standard of verisimilitude that ties poetry very closely to history and on the basis of which he is willing to criticize even Virgil. These principles lead him to what proves to be the most influential feature of his commentary, the extrapolation of a few brief remarks from Aristotle into the firm doctrine of the three unities of dramatic composition: the requirement of a single action, transpiring at a single location, during a period of fictional time that Castelvetro specifies as no more than 12 hours. This tripartite rule becomes notorious for its legislative dogmatism, though Castelvetro urges it with constant reference to the needs and expectations of an actual theatrical audience. He may have drawn on personal experience--he is very possibly the author of Gl'ingannati (1531), the comedy that supplied Shakespeare the main plot of Twelfth Night--and in the next century Castelvetro's doctrine (generally cited as Aristotle's doctrine) does in fact play a useful role in theatrical history, helping the French classical stage achieve its special kind of austere focus. udience after they feel pity and fear and is not characteristic of tragic performance. Aristotle argues that comedy imitates the action of men worse than ourselves. Nicholas Boileau is the French poet and critic. His most celebrated work, The Art of Poetry, was a comprehensive summation of classical rule and convention in French literature. He links verisimilitude to tragedy and truth to the notion of comedy, verisimilitude is of a higher level than truth. Boileau's models of writing look si
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Approximate Word count = 1463
Approximate Pages = 6 (250 words per page double spaced)
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