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کتاب Drama interpretations: a structure approach to modern drama
اثر جلال سخنور و شادی بهشتی
The Cherry Orchard
The Glass Menagerie
Murder in the Cathedral
Desire under the Elms
The Skin of Our Teeth
Mother Courage and Her Children
Glossary of Drama
Glossary of Staging and Acting
اطلاعاتی درباره کتاب Drama interpretations: a structure approach to modern drama
This is a book on how to read drama. The assumption upon which it is based may at first seem odd and fallacious: any educated person knows how to read, and furthermore, one should see drama, not read it. This book has been prepared in the belief that most Iranian students read only superficially, and that, although reading drama is different from seeing a theatrical production and cannot be substituted for it, studying a play as dramatic literature is both entertaining and intellectually stimulating.
In the theater much of the hard work of interpreting a play is done for an audience by the actions, the director, the designer, the electricians, the stagehands, the wardrobe mistress, and all the others involved into something alive through the complex resources of the modern theater. Communication of character, meaning, and mood is established by dialogue, movement, and gesture or even by complete silence. Costumes and make-up play a significant role, as do sets, lighting, properties, and sound and musical effects.
Reading drama presents a greater challenge than seeing a play for the very reason that the reader must create in imagination his own theatrical production. In reading, one can only approximate the staging of a play, but if something is lost, something more is gained, for there are depths and dimensions to dramatic art lost on the stage. The opportunity for a deliberate and thoughtful evaluation of a play is not permitted an audience. A line lost in laughter, a subtle gesture or verbal implication missed, cannot be retrieved, in watching a play we do not exhaust its artistic riches; in reading a play, on the other hand, we shift the area of inspection, to some extent, from the technical and theatrical to the literary. The thematic, tonal, structural, and symbolic elements of drama receive increased attention, even though plot, action, scene, character, and dialogue must not be overlooked. But simply to reduce drama to a story in dialogue is to lose its literary significance.
Story, however, is where one begins. Thus, it is essential first to read a play quickly for the sheer enjoyment of discovering the outcome. If possible, one should.