STUDY MATERIAL on Generic Elective (ENGLISH) Paper TEXT AND PERFORMANCE - University of Delhi

STUDY MATERIAL on Generic Elective (ENGLISH) Paper
TEXT AND PERFORMANCE - University of Delhi

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“I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being.” – Oscar Wilde

1. Introduction
 

1. Introduction to theories of Performance

The theoretical discussion of drama and theatre practice has a long and illustrious history, reaching back to Aristotle’s Poetics. This history of thinking and writing about drama has centrally shaped our contemporary understanding of performance, theatre and the cultural significance of dramatic practice. Here are some of the most significant developments in the history of dramatic theory from ancient Greece to the present day:

Aristotle and Greek Theatre: The Birth of Dramatic Theory

Aristotle’s Poetics is generally regarded as the founding text of dramatic criticism, and regularly cited by subsequent scholars despite its much‐debated connection to the dramatic practice of ancient Greece.

Bharata’s Theory of Dramatic Performance

The Natyasastra holds a centrality in central Asian theatre similar to that of Aristotle’s Poetics in Europe, but it is far more extensive in scope, covering not only dramatic structure, but acting, costuming, staging, and theatre architecture. The place for performance described in the Natyasastra is far closer to a modern Western idea than to that of classical Greece or Rome. Unlike the great public theatres of Greece and Rome, the classical Indian theatres were sponsored by royal courts and were clearly for an elite audience, of at most about 500. 

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