Paperback: 334 pages
Publisher: Merricat Publications (November 24, 2009)
Language: English
ISBN-10: 1434403874
ISBN-13: 978-1434403872
Product Dimensions: 6 x 0.8 x 9 inches
Shipping Weight: 1.1 pounds (View shipping rates and policies)
Average Customer Review: 4.4 out of 5 stars See all reviews (10 customer reviews)
Best Sellers Rank: #391,010 in Books (See Top 100 in Books) #124 in Books > Arts & Photography > Performing Arts > Theater > Playwriting #1128 in Books > Self-Help > Creativity #1429 in Books > Textbooks > Humanities > Literature > Creative Writing & Composition
Lajos Egri is a highly opinionated man, and one of a bygone era. His analysis of what makes great theater has long been disproved by the inventiveness of playwrights like Harold Pinter, whose dramatic tension powerfully hinges on the pause between words, and screenwriters like Charlie Kaufman, whose narrative line successfully obsesses over the incongruity of the human condition. These writers, who emerged since the 1946 publication of Egri's "The Art of Dramatic Writing," have shown that character does not necessarily drive plot, the purely visual can suffice in revealing a story, and style can trump structure.Nevertheless, "The Art of Dramatic Writing" is an excellent book for novice playwrights, aspiring drama critics, or theatre students. Readers interested in dramatic theory will also be absorbed by Egri's systematic deconstruction of plays by Ibsen, Strindberg, Shakespeare, and O'Neill to prove his theory that character is the basis of a great story. In summary, here is what Egri writes:* Character drives plot, not the other way around.* Well-drawn characters possess three dimensions, physiology, sociology, and psychology. Avoiding any of these three in developing a character will lead to composing a failed drama.* The play must have a premise that its writer can assert in a three-part sentence suggesting character, conflict, and resolution. Examples: Power-mongering (character) results in (conflict) self-destruction (resolution). Love (character) conquers (conflict) oppression (resolution).* Conflict should slowly rise to create conflict, tension, climax, and conclusion. It should not be static, leading to boredom, or jumping, leading to melodrama.* Conflict demands perpetual exposition, or transition.
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