Greek Dramatical

March 5, 2014 | Uncategorized

In the moralities, the concrete historical subjects of the mysteries are substituted by abstract-typical arguments, that show the conflict of the man in face of the good and the evil. Suassuna brings for the contemporaneidade that dramatical form that had Gil Vicente one of the biggest Portuguese writers of century XIV its apogee in Portuguese language. The auto vicentino was of thematic religious. The assignment of the given Humbug ace parts of profane subject. In this example, it can be noticed that the dramatical one, as it indicates the origin of the word (drama comes of the Greek verb dro= to make), is action. Therefore, the world in represented it (therefore complete the dramatical text if in the representation) is presented as if it existed by itself without the interference of a narrator.

Important it is to notice that the objective of the writer is not each ticket for itself as in the epic nor the special way to transmit a subject emotionally, as in the lyric poem, but the goal to reach. Thus it is that everything is projected for the end through the maintenance of one strong expectation that discharges in the outcome or solution. In the dramatical sort, each part of the part if binds the others in such a way that it is always consequence of the previous one and cause of the following one. This interdependence of the parts is responsible for the tension that in turn demands the concentration in the essential and the acceleration of the time, so that nothing if it loses nor if it sees the direction of all wronged. He is what Aristotle called unit of the action. The dialogue is the proper form so that the personages always act without any mediation giving the impression, even though in the historical dramas, of that everything is happening for the first time.


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