History of art thus made to consist of chronological list of such works and of their different methods. We have music, architecture, sculpture, painting, as though art must necessarily consist of carven stones, sounds, colors, even words. Not twenty years ago, our museums, concerts, and libraries se...
History of art thus made to consist of chronological list of such works and of their different methods. We have music, architecture, sculpture, painting, as though art must necessarily consist of carven stones, sounds, colors, even words. Not twenty years ago, our museums, concerts, and libraries seem to confirm this view. To day, they are so no longer. We have left our chairs. We seek for art and wish to find it in ourselves. We break the barriers asunder, surmount in a stride the steps that separare us from the stage, descend unflinching into the arena. Since after Second World War, theatre has changed dramatically. Realism we believe has no longer truth in late 20th century. People do not go to see every day life on the stage. They want to have a real experience which has truth in it. People do not want to be forced by a director or an actor even a writer. They want to see what they want to see, they want to feel what they want to feel. Therefore, theatre has suddenly gushes out reveals the need to opposed the irrevocability of a profession which is based on the demand to fix and repeat words and actions. People grow up with film, television, and computers. Art, and meaning of art, the form and function of the visual component of expression and communication, have changed sharply in the technological age without a corresponding shift in the aesthetic of art. As the character of the performing art and their relationship to society and education has shifted dramatically, the aesthetic of art has become more fixed, anachronistically locked into the notion that the primary influence in the understanding and forming of every level of visual messsage should be based on noncerebral inspiration. Visual analysis to theatre has many different ways because visual expression is many things, in many circumstances, to many people. It is product of highly complex human intelligence of which there is little understanding. To understand our modern performing art little better, I took few modern direcrors, and their way of training and designs as examples in my study.
History of art thus made to consist of chronological list of such works and of their different methods. We have music, architecture, sculpture, painting, as though art must necessarily consist of carven stones, sounds, colors, even words. Not twenty years ago, our museums, concerts, and libraries seem to confirm this view. To day, they are so no longer. We have left our chairs. We seek for art and wish to find it in ourselves. We break the barriers asunder, surmount in a stride the steps that separare us from the stage, descend unflinching into the arena. Since after Second World War, theatre has changed dramatically. Realism we believe has no longer truth in late 20th century. People do not go to see every day life on the stage. They want to have a real experience which has truth in it. People do not want to be forced by a director or an actor even a writer. They want to see what they want to see, they want to feel what they want to feel. Therefore, theatre has suddenly gushes out reveals the need to opposed the irrevocability of a profession which is based on the demand to fix and repeat words and actions. People grow up with film, television, and computers. Art, and meaning of art, the form and function of the visual component of expression and communication, have changed sharply in the technological age without a corresponding shift in the aesthetic of art. As the character of the performing art and their relationship to society and education has shifted dramatically, the aesthetic of art has become more fixed, anachronistically locked into the notion that the primary influence in the understanding and forming of every level of visual messsage should be based on noncerebral inspiration. Visual analysis to theatre has many different ways because visual expression is many things, in many circumstances, to many people. It is product of highly complex human intelligence of which there is little understanding. To understand our modern performing art little better, I took few modern direcrors, and their way of training and designs as examples in my study.
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