American Drama in the Age of Film

Is theater really dead? Does the theater, as its champions insist, really provide a more intimate experience than film? If so, how have changes in cinematic techniques and technologies altered the relationship between stage and film? What are the inherent limitations of representing three-dimensional spaces in a two-dimensional one, and vice versa? __American Drama in the Age of Film__ examines the strengths and weaknesses of both the dramatic and cinematic arts to confront the standard arguments in the film-versus-theater debate. Using widely known adaptations of ten major plays, Brietzke seeks to highlight the inherent powers of each medium and draw conclusions not just about how they differ, but how they ought to differ as well. He contrasts both stage and film productions of, among other works, David Mamet’s __Glengarry Glen Ross__, Sam Shepard’s __True West__, Edward Albee’s __Who’s Afraid of Virginia Woolf__, Margaret Edson’s __Wit__, Tony Kushner’s __Angels in America__, Tennessee Williams’s __Cat on a Hot Tin Roof__, Arthur Miller’s __Death of a Salesman__, and August Wilson’s __The Piano Lesson__. In reading the dual productions of these works, Brietzke finds that cinema has indeed stolen much of theater’s former thunder, by making drama more intimate, and visceral than most live events. But theater is still vital and matters greatly, Brietzke argues, though for reasons that run counter to many of the virtues traditionally attributed to it as an art form, such as intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater by challenging those common pieties and offering a new critical paradigm, one that champions spectacle and simultaneity as the most, not least, important elements of drama. Is Theater Really Dead? Does The Theater, As Its Champions Insist, Really Provide A More Intimate Experience Than Film? If So, How Have Changes In Cinematic Techniques And Technologies Altered The Relationship Between Stage And Film? What Are The Inherent Limitations Of Representing Three-dimensional Spaces In A Two-dimensional One, And Vice Versa? American Drama In The Age Of Film Examines The Strengths And Weaknesses Of Both The Dramatic And Cinematic Arts To Confront The Standard Arguments In The Film-versus-theater Debate. Using Widely Known Adaptations Of Ten Major Plays, Zander Brietzke Seeks To Highlight The Inherent Powers Of Each Medium And Draw Conclusions Not Just About How They Differ, But How They Ought To Differ As Well. He Contrasts Both Stage And Film Productions Of, Among Other Works, David Mamet's Glengarry Glen Ross, Sam Shepard's True West, Edward Albee's Who's Afraid Of Virginia Woolf, Margaret Edson's Wit, Tony Kushner's Angels In America, Tennessee Williams's Cat On A Hot Tin Roof, Arthur Miller's Death Of A Salesman, And August Wilson's The Piano Lesson. In Reading The Dual Productions Of These Works, Brietzke Finds That Cinema Has Indeed Stolen Much Of Theater's Former Thunder, By Making Drama More Intimate And Visceral Than Most Live Events. But Theater Is Still Vital And Matters Greatly, Brietzke Argues, Though For Reasons That Run Counter To Many Of The Virtues Traditionally Attributed To It As An Art Form, Such As Intimacy And Spontaneity. Brietzke Seeks To Revitalize Perceptions Of Theater By Challenging Those Common Pieties And Offering A New Critical Paradigm, One That Champions Spectacle And Simultaneity As The Most, Not Least, Important Elements Of Drama.--jacket. Introduction : Beyond The Box -- Revaluations Of Virtues -- Dramatic Projections -- A Vicious Cycle At Sea -- There's Something About Mary -- Bedroom Ballet In The Delta -- Jungled Dreams -- Getting The Guests -- Lamebrains Across Texas -- Cadillacs Are For Closers -- Making Oneself Big -- Cancer And The Classroom -- Stairway To Heaven -- Conclusion : Revivals Versus Remakes. Zander Brietzke. Includes Bibliographical References (p. [181]-190) And Index. Examines the strengths and weaknesses of both the dramatic and cinematic arts Is theater really dead? Does the theater, as its champions insist, really provide a more intimate experience than film? If so, how have changes in cinematic techniques and technologies altered the relationship between stage and film? What are the inherent limitations of representing three-dimensional spaces in a two-dimensional one, and vice versa? American Drama in the Age of Film examines the strengths and weaknesses of both the dramatic and cinematic arts to confront the standard arguments in the film-versus-theater debate. Using widely known adaptations of ten major plays, Brietzke seeks to highlight the inherent powers of each medium and draw conclusions not just about how they differ, but how they ought to differ as well. He contrasts both stage and film productions of, among other works, David Mamet's Glengarry Glen Ross, Sam Shepard's True West, Edward Albee's Who's Afraid of Virginia Woolf, Margaret Edson's Wit, Tony Kushner's Angels in America, Tennessee Williams's Cat on a Hot Tin Roof, Arthur Miller's Death of a Salesman, and August Wilson's The Piano Lesson. In reading the dual productions of these works, Brietzke finds that cinema has indeed stolen much of theater's former thunder, by making drama more intimate, and visceral than most live events. But theater is still vital and matters greatly, Brietzke argues, though for reasons that run counter to many of the virtues traditionally attributed to it as an art form, such as intimacy and spontaneity. Brietzke seeks to revitalize perceptions of theater by challenging those common pieties and offering a new critical paradigm, one that champions spectacle and simultaneity as the most, not least, important elements of drama. Contents......Page 8 Acknowledgments......Page 10 Introduction: Beyond the Box......Page 12 1. Revaluations of Virtues......Page 24 2. Dramatic Projections......Page 41 3. A Vicious Cycle at Sea......Page 58 4. There’s Something about Mary......Page 74 5. Bedroom Ballet in the Delta......Page 87 6. Jungled Dreams......Page 101 7. Getting the Guests......Page 114 8. Lamebrains across Texas......Page 126 9. Cadillacs Are for Closers......Page 140 10. Making Oneself Big......Page 155 11. Cancer and the Classroom......Page 167 12. Stairway to Heaven......Page 179 Conclusion: Revivals Versus Remakes......Page 193 Notes......Page 196 Works Cited......Page 204 Index......Page 214 University Alabama Press Contents 8 Acknowledgments 10 Introduction: Beyond the Box 12 1. Revaluations of Virtues 24 2. Dramatic Projections 41 3. A Vicious Cycle at Sea 58 4. There’s Something about Mary 74 5. Bedroom Ballet in the Delta 87 6. Jungled Dreams 101 7. Getting the Guests 114 8. Lamebrains across Texas 126 9. Cadillacs Are for Closers 140 10. Making Oneself Big 155 11. Cancer and the Classroom 167 12. Stairway to Heaven 179 Conclusion: Revivals Versus Remakes 193 Notes 196 Works Cited 204 Index 214 ISBN-13:,9780817315719