The performance of the actor between theater and cinema (Romeo and Juliet as a model)
DOI:
https://doi.org/10.61841/t6pvk665Keywords:
theater, cinema, montageAbstract
The relationship between theater and cinema is old one. When the cinema was invented, especially the camera, the films were based on the theater. There was no editing; the film was shot in one play. When the montage was invented, it changed, and the film came out of theaters to public places and became a screenwriter, until it evolved to where we are now. Shakespeare, Ibsen, Cocteau, Tennessee Williams, Arthur Miller, and others have been presented in the cinema, as director Paz Luhrmann did when he introduced the play Romeo and Juliet with a new vision and a reversal of the original playtime. Shakespeare and dropped it on a certain reality and a specific time and spatial environment was the country in which he lives on the grounds that love stories are repeated every time and place, and here we will look for the nature of the performance of the actor between theater and cinema and what is the similarity and difference in his performance in both cases and the relationship and variables that occur in the play when The Night is to film. And looking for how to process the play and turn it into a movie? And how do cinematic techniques affect the performance of the actor? To what extent does the film preserve the original theater?
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1: Jilin Wilson, The Psychology of Performing Arts, TR, Abdulhameed Shaker, Knowledge Scientist Kuwait, National Council for Culture, Arts, and Literature, 2000, p. 8.
2: Elizabeth Goodman and Jean de Mann, Rationality in Politics and Performance, T. Lotfi and Secretary of Rabat, Center for Languages and Translation, Cairo: Cairo Festival of Experimental Theater, Academy of Arts, 2001, p. 163.
3: Hayes Jordan, acting and theater performance; see: Mohammed Sayed, Sharjah Center for Intellectual Creativity, Sharjah, United Arab Emirates, p. 21.
4: K. Bernard F. Dick: Anatomy of the Film, translation: Mohammed Munir Al-Asbahi. General Organization for Cinema, Damascus, 2013, p. 13.
5 - Bernard K., ibid., P. 17.
6: Paul Warren: Cinemabines Illusion and Truth, Translated by Ali El-Shobashy, The Egyptian General Book Organization, Cairo, 1972, p. 12.
7—Joseph M. Boggs, The Art of Watching Films, Translation: Wedad Abdallah, The Egyptian General Book Organization, Cairo 1995, p. 239.
8.Console.Collin, Theatrical Performance Signs: An Introduction to Twentieth Century Theater, Tr.: Amin Hussein Rabat, Cairo International Festival for Experimental Theater, 1998, p.
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10—Alnakrashi, Farid, The Sacred Body: Reflections on the Body of the Modernist Actor, Link Press, 2016
11-Look: Abdullah Al-Ghadami: Anatomy of the Text: Anatomical Approaches to Contemporary Poetic Texts, House Vanguard for Printing and Publishing, i. 1, Beirut, 1987, p. 344.
12. Eugene Raudin (the power of non-verbal communication) The language of our body cannot contradict or reinforce what we say in words. c. Hassan Bahri, Journal of Contemporary Arab Thought, an independent intellectual journal published by the National Development Center, Beirut Paris, Court Magazine 2000, p. 240.
13 See Abdullah al-Ghadami, a previous source, p. 240.
14- Marie-Thérèse Journo, Dictionary of Cinematic Terms, Tr: Fayez Bashour, General Organization for Cinema, Damascus: 2007, p. 58.
15- Mary Ellen O'Brien: Cinematographic Representation, Tr: RiadEsmat, General Organization for Cinema, Damascus: 2001, p. 49.
16- Louis de Janeti: ibid., P. 390.
17- Morel Regard: Methods of Representation, Tr.: Sami Abdul Hamid, House of Books for Printing and Publishing, Baghdad: 2001, p. 3.
18- Mary O'Brien, op. cit., p. 41-53.
19- Michael Rum, Hadith on Cinematography, 1st ed., TR: Adnan Madanat, Dar Al-Farabi, Beirut: 1981, p. 203.
20- Michael Rom, ibid., P. 204.
21. Consider: Thaer Abdul Ali. The directing vision of the theater scene between theater and cinema, unpublished master thesis, University of Baghdad, College of Fine Arts, Department of Performing Arts. 2014, pp. 103-111.
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