Ludwig Anzengruber, an Austrian playwright and novelist, was born in Vienna on November 29, 1839, and he passed away there on December 10, 1889. He is best known for his realistic plays on rural life.
Anzengruber published an anti-clerical drama called Der Pfarrer von Kirchfeld (1870), which was immensely popular after briefly acting as an actor. Redsite.ch Die Kreuzelschreiber (1872; “The Cross Makers”), Der G’wissenswurm (1874; “The Worm of Conscience”), and Doppelselbstmord (1876; “Double Suicide”) are among the cheerful and clever comedies he wrote, except the somber Der Meineidbauer (1872; “The Farmer Forsworn”). In addition to works like Der Schandfleck (1877, updated 1884; “The Stain”), Der Sternsteinhof (1884; “The Sternstein Farm”), and other stories of village life, he also created the problematic drama Das vierte Gebot (1878; “The Fourth Commandment”).
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Many hands and physical elements work together to bring a play to life, from its inception in the thoughts of its creator to the memory that an audience takes home after seeing it on stage. So, the question of what is and is not necessary to it is raised. Is a play what its creator intended to write, or are those words a play? Is a play how those words are meant to be embodied, or are it how a director and the players on a particular stage understand them? What comes first, the audience’s expectations before entering the theatre or their reaction to what they see and hear? Dramatic communication is so intricate that studying it and evaluating it can be unpredictable and unstable.
common dramatic elements
Despite the enormous cultural variation of drama, all plays share some characteristics. For starters, acting cannot stop being significant theatre and turn into a “private” message, as a book or poetry may. The figures don’t have to be hideous and absurd, or even puppets, to be understood by the audience. They can be superhuman and godlike in look, speech, and deed or grotesque and godlike. They only stop communicating as a theatre if they become overly abstract. Thus, a god in Greek tragedy or Shakespeare speaks like any other mortal, and the character of Death in medieval theatre justifies himself like a human creature. Therefore, a play tells its story by mimicking human behavior. The audience’s reaction can be significantly influenced by how far or close that behavior is to their everyday lives:
- They may be in awe of what they witness.
- They may laugh with detached superiority at clownish antics.
- They may feel sympathy.
These distinctions between alienation and empathy are significant because a dramatist can direct the audience’s perception of the play and give it meaning by widening or narrowing this aesthetic chasm between the stage and the audience.
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The first essential includes the second implicitly. Although static figures can be just as symbolically symbolic on stage as in a painting, a dynamic portrayal of the figures in action is necessary to reveal a character’s deeper traits and effectively influence the audience’s reactions. A recognizable and plausible scenario must be depicted on stage for the figures to move and react as they would in real life. Some claim that action is the main component of drama and that character development is impossible without it. It seems complicated to separate the notion of a character from the circumstance in which he is situated because play would only exist with a situation, even though it might seem plausible after experiencing the entire space. The order in which the playwright develops characters and situations is random. The scope and scale of the character-in-situation, such as a man addressing God or a guy confronting his wife, are more pertinent because they align with the kind of experience the drama is trying to give its audience. Even here, one must be cautious before making snap decisions because even the most ambitious heroic tragedy plot may not have the same impact as a good farce’s tease of human craziness.