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TCP 3 Symbolism
TCP 3 Symbolism
Lecture Three:
Symbolism
However, the seed for change was sown with the Romantic
movement which rejected the neoclassical tradition, explored new
subject matters and placed themselves outside the mainstream
society.They also placed the artist at the centre of the work of art.
Placed
illusion)
Used
the orchestra pit and prompt box beneath the stage (so as not to destroy the
Promoted
Dionysian:
Free
Intoxicated
Connected
Chaotic
Emotional
Apollonian:
Bound
Individuated
Harmonious
Ordered
Neurotic
Rational
Irrational
The external reality / world as we perceive it is subordinate to the inner truths of the soul.
MAURICE MAETERLINCK
In his early plays (published between 1889 and 1894), found a way to
express the symbolist agenda in play-text form:
He created a new style of dialogue, extremely lean and spare, where
what is suggested, is more important than what is said.
The characters have no foresight, and only a limited understanding of
themselves or the world around them. (Victims of external forces)
He downgraded ego and consciousness - opening the way for poetic
interpretations from the audience. (characters as puppets)
They were philosophic, poetic, elitist, with many obscure esoteric
symbols.
MAURICE MAETERLINCK
The puppet demonstates that there is no need of outer truth of external
appearance in order to convince the spectator of the inner, spiritual truth.
From this, he gradually developed his notion of the "static drama."
It is the artist's responsibility to create something that does not express human
emotions but rather the external forces that compel people.
The artist, by whatever means, must be able to trigger the spectators power of
association and imagination - and therefore, the spectator is placed in an active
role, whereas in the theatre of illusion, he is no more than a passive recipient.
RECAP
Once symbolism had let go of its mystical pretentions, it became a kind of de-cluttering of the theatrical canvas.
An invitation to the poet to use the space created for mystical elements for his own poetic symbols.
This had built into it an invitation to the audience to actively participate in the reading and perceiving of the work of
art.
When Craig talks about lines, designs, compositions, and even lighting, I feel that this
is Craig, but when the question concerns directing, then I dont trust him: be he
absolutely right, he is too uninterested in acting.