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By Patrice Pavis

Patrice Pavis is one among France's so much fabulous teachers and a number one specialist across the world within the concept of theatre. Dictionary of the Theatre is an English translation of Pavis's acclaimed Dictionnaire du théâtre, now in its moment printing in France.

This encyclopedic dictionary comprises theoretical, technical, and semiotic phrases and ideas. Alphabetical entries diversity from 'absurd' to 'word surroundings' and deal with the reader to an unlimited panoply of theatre and thought. The prolonged discussions are supported by means of priceless examples drawn from the overseas repertoire of performs and playwrights, either vintage and modern. The Foreword is through Marvin Carlson.

This dictionary is remarkably good built-in, partially as a result of its first-class procedure of cross-referencing, but additionally since it represents the imaginative and prescient and scholarship of a unmarried, famous authority. there is not any different resource love it to be had and it'll be warmly welcomed via the English-language theatre world.

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Additional resources for Dictionary of the Theatre: Terms, Concepts, and Analysis

Example text

It attempts to establish a bridge between the fictional world and the real-life situation of the spectators. 3. The status of the character who addresses the crowd is, however, ambiguous. He introduces himself as a private person, as Actor X or Y who speaks on his own behalf and may even invite the audience to join him in a dialogue, but, on the other hand, he never succeeds in making the spectators forget his real situation and status as a character. Everything he says, as soon as it is uttered on the stage, takes on the value of lines to be said which are part of the fiction of the play and provided for in the staging, addressed to a fictitious spectator who is already anticipated by the performance.

Apelacion al piiblico. Parts of the text (which may or may not be improvised) that the actor, leaving his role as a character, delivers directly to the audience, thus breaking the illusion and fiction of a fourth wall* completely separating the auditorium from the stage. The Latin term ad spectatores is also used in this sense. Aesthetics of Drama 1. In the dramatic* form of theatre, addressing the audience is strictly forbidden, in order to maintain the theatrical illusion*. It exists only in the form of the authorial intervention* or the moralizing discourse of the raisonneur*.

The term was coined in the 19505 with the beginnings of the theatre of the absurd*. g. G. NEVEUX in Theatre de France II, 1952 and L. ESTANG in La Croix of 8 January 1953, who uses the term to label BECKETT'S play, Waiting for Godot). 2. This type of theatre is not really an invention of our times, as each era invents its own counter-plays; for instance, the theatre de foire parodied classical tragedy in France in the eighteenth century. It is futurism (MARINETTI) and surrealism, however, that best illustrate literature's rejection of tradition and the well-made psychological play.

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