When the drama attains a characterization which makes the play a revelation of human conduct and a dialogue which characterizes yet pleases for itself, we reach dramatic literature.
Sentiment: POSITIVE
Acted drama requires surrender of one's self, sympathetic absorption in the play as it develops.
Now, drama is quite useful at helping us to understand what our position is and, conversely, we might then understand why our theatre is being destroyed.
English dramatic literature is, of course, dominated by Shakespeare; and it is almost inevitable that an English reader should measure the value of other poetic drama by the standards which Shakespeare has already implanted in his mind.
I think that ultimately any effective drama or tragedy tries to put you as much as it can into the protagonist's shoes.
Everything has its own kind of theatricality and its own drama.
Our job is to make manifest the story, to be it. In a sense, the theatre is such a big star itself, bigger than any Shakespearean actor I could hire, that we should take the opportunity to fill it with voice and verse and movement, not interpretation.
A book becomes something else once it's dramatized.
But what is drama? Broadly speaking, it is whatever by imitative action rouses interest or gives pleasure.
In approaching our subject it will be best, without attempting to shorten the path by referring to famous theories of the drama, to start directly from the facts, and to collect from them gradually an idea of Shakespearean Tragedy.
A play, after all, is a mystery. There's no narration. And as soon as there's no narration, it's open to interpretation. It must be interpreted. You don't have a choice... Each play can become many things.
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