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Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

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Page 1: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

Theater & Cinema

Outline based on chapters 22 & 23 of Film and Literature, 2nd edition (2012)

Page 2: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

What makes theater & film different?

• Both authors, André Bazin (chapter 22) & Leo Braudy (chapter 23) address this issue when a play is made into a film.

KEY CONCEPT: stage & film are two different dramaturgical systems.

Page 3: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

Where is the essential difference?

In the PHOTOGRAPHIC properties of cinema:

Cinema gives the illusion of REALISM

The cinematographic space is REALISTIC

The mise-en-scène looks as if it’s really -REALISTICALLY - happening

The actors ARE the characters - PERSONATION

Page 4: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

THE REALISM OF CINEMA

FOLLOWS DIRECTLY

FROM ITS PHOTOGRAPHIC NATURE

Page 5: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

In cinema

staging & acting are shaped by the

REALISM of the photographic image

Page 6: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

André Bazin’s observations

He explores the differences between theater & film in terms of:

* presence of the actors* spatial realism of film vs. the stage* value of the mise-èn-scène – no stage* stage space vs. cinematographic space

Bazin contrasts these two different dramaturgical systems.

Page 7: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

Leo Braudy’s observations

He contrasts the acting for the stage & the screen, noting the differences in the portrayal of characters.

Acting onstage developed a tradition of naturalness in European theater – the Stanislavski Method

This Russian method trains the actor to bring out the character from the inside.

This method is the opposite of expressionism.

Page 8: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

Braudy describes film acting as ‘personation’.

The stage actor ‘subordinates’ himself to the character.

The film actor ‘ becomes’ the character.

The art of film allows for actors, who become the characters, to preserve the human experience

Page 9: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

Some examples

Think of The Avengers (2012) Tom Hiddleston IS Loki – PERSONATION

But in a filmed version of Shakespeare’s historical plays –The Hollow Crown (2012) – we are aware of him playing Prince HaL – IMPERSONATION

Page 10: Theater & Cinema Outline based on chapters 22 & 23 of Film and Literature, 2 nd edition (2012)

Benedict Cumberbatch is Sherlock Holmes in the ongoing British television series Sherlock (2014).

But he remains Benedict Cumberbatch when he plays Hamlet on the London stage this season.