فصل الدراما ، الزمن والسرعة واللغة ٢-a .. كتاب فهم السينما

From the Special Branch of Literature. In theatre, we tend to hear before we see. Film director Rene Clair once observed that the blind can grasp the essentials of most plays. Cinema, on the other hand, is generally considered a formal art and is therefore the director's means of expression. Claire also notes that al-Atrash can understand most of the essentials of the film, but these are the designs as well Relative, as some films, including many of Wells' works, for example, are densely saturated visually and audio.

Since plays emphasize the primacy of language, one of the biggest dilemmas in preparing them for the screen is deciding how much language is necessary for an art as predominantly formal as cinema. George Kukor's version of Shakespeare's Romeo and Juliet was a conservative film adaptation of the play. He kept almost all of the dialogue, even the explanatory introduction and the purely functional words for which there was no poetic value. And the dialogue often contained the same information, which produced a deadpan, bloated quality that was in fact believable by the play's fast-paced action.

With him, Zeffirelli's cinematic version of this play was more successful (4-7). He cut the verbal illustration almost completely and replaced it with the same effect as the pictorial illustration. She trimmed the single lines with great care, if they could be expressed through the picture. Most of the great book was preserved, but often without synchronized visuals, in order to extend the existence of language rather than repeat it. The large shots were like a series of exquisite Renaissance paintings. The camera recorded the closest details of the lovers' lives, and the soundtrack captured the subtlest groans. The fighting scenes were more exciting than any ambitious theatrical presentation, as the camera raced and rotated with the wrestlers. In short, Lee's Zephyr, while technically unfaithful to the script, is actually more Shakespearean in spirit than Kukor's literally accurate version.

So, both cinema and theater are audiovisual mediums, but they differ in their emphasis on certain traditions. The two main sources of information in drama are action and dialogue We observe what people say and do The action of a play is not just a depiction of words Hedda Kepler's burning of Lefbork's text, for example, embodies Emotional and intellectual information that cannot be articulated in language The contrast between what people say and do is a common source of stage satire. Chekhov built many of his plays around this satirical contrast, even in a wordy play such as (The Man And Bernard Shaw's superman delights audiences in watching Anne Whitefield patch up John Tanner as he talks and talks.

It is expressed in action in the theater that is limited primarily to objective distant shots, if we use the cinematic metaphor. That is, only the very wide actions that affect such as the duel between Hamlet and Laertes and Amanda's help to Laura in dressing her in the glass animals) and so on the very long shots ranges, if we want to continue the borrowing from the cinema it must be typical in the theater. Epic battles in Shakespeare's historical plays, for example, may look funny if they are designed on stage in a realistic manner. Likewise, close-up actions may only be seen by those sitting in the first row, unless the actors exaggerate and perform stereotypes. Hamlet's loathing of Claudius must be portrayed either by an exaggerated facial expression or by the prince's larger-than-life gestures and movement, except in theatrics too intimate for close-up actions in the drama to be audible. That is, the most accurate actions and reactions of theatrical actors are usually expressed by language and not by pictorial means. We know about Hamlet's attitude towards Claudius in the first place through Hamlet's monologues and dialogue at the level of the big shot. What we see on stage is mostly not what people do, but what people say about action or what was done.

Because of these image dilemmas, most plays avoid actions that require large or narrow venues. Theatrical action is usually determined by the extent of the full and distant shot. If the need arises for a very small or very large space, the theater tends to resort to the unrealistic conventions of ballets and stylized tableaus for long-shot actions, and the conventions of verbalization for large-shot actions. Cinema, on the other hand, can move easily between these ranges. For this reason, cinema often dramatizes the action that takes place on the stage between two curtains only. This is not to say that cinema does not have its own set of traditions. Animated camera and impressionistic sound As unrealistic as the formal theater conventions are, in both cases the audience accepts these conventions as the rules of the game.

These problems are defined between there is something of axioms in the theater because of some of the most dramatic plots, for example, include a clear conflict between the hero and the anti-personality between Antigone and Creon, and between Lear and his daughters, between Stanley Kowalski and Blanche Dubois. The obvious problem and conflict is presented at the beginning of the play. This conflict is increasingly deepened through successive scenes, ending as a result with an upward confrontation in which the hero or his anti-character wins. Not all plays adhere to this clear-lined Aristotelian structure of action, but a surprising number of plays adhere to this structure, even a thin, non-theatrical play, such as Chekhov's The Cherry Orchard, where the heroes, members of the Rainevsky family, and the anti-heroes are the forces of a changing society that ultimately deprives the family, its estate, and its way of life. complete. They are from her garden

In cinema, the dramatic or Aristotelian construction method is only one of several used, although it is more common, especially in the United States. Because of the greater spatial and temporal flexibility in the cinema, the film can use a number of other means and structures as well, including the epic structure in the movie (The Birth of a Nation), the lyrical structure in the movie (The Easy Rider), the stream of consciousness in the movie (Andalusian Dog) by Buñuel, the recording structure in the high school movie by Frederick Wiseman, and the article In Kodar's film (masculine, feminine, and even formal), we explore the abstract films of the Whitney Brothers. In short, films can dispense with clear conflicts, climaxes, and even plots, as the cinematic act can be theatrical or non-theatrical with the same ease.

The human being is the center of theatre's aesthetics. Words must be delivered by people, and conflicts must be embodied by actors. Cinema does not depend on people. Cinema aesthetics is based on photography and anything can Relationships with people portraying it can be material for the theme of the film. Drama in general tends to emphasize the relationships of people with each other. Cinema can also deal with things (5). For this reason, preparing a play for the screen, despite the difficulty, is not impossible, as much of what the theater can do, the cinema can also do. Movies with outdoor locations would be impossible, of course (7-6) How does one set up John Ford's great Westerns like "The Chariot" and "The Searchers"? However, movies with indoor locations would probably be impossible to translate into theatrical terminology. It's true that the words You may not be impediment and that some verbs may be transferable, but how does one handle the fragmentation in time of Rene's film (The Last Year in Marienbad)? Or the visual fragmentation of place in Richard Lester's A Hard Day's Night. The theme and character construction in Joseph Losey's The Servant come to us primarily through camera angles and it's impossible to imitate theatrically. Berkman's theme (silence) comes to us primarily through images of empty corridors, doors and windows. How can we transfer this method to the theater?

Nor is it best to prepare a play for the screen by necessarily 'opening' it up, substituting external locations for internal ones. Cinema does not always mean the very long shot, the quick turns and the flashy montage. Hitchcock once observed that many films based on plays fail because the taut, taut structure of the original is lost (when the director expands it) by inappropriate cinematic techniques, especially when a play emphasizes a sense of confinement—many of which emphasize this either physically or psychologically. The best preparers will respect the spirit of . original text | So he's looking for a film equivalent. (7) (7) A Tony Richardson movie (Hamlet) He filmed almost entirely with medium and close-up shots. The interior scenes are narrow, except for one, where the camera moves farther back. The scene fails because it relaxes all the tensions that were created in the early sections of the film. And because it breaks the psychological and spiritual sense of claustrophobia that was carefully preserved in other scenes.