Short story cinderella in theatre
Anglų analizė. Short story cinderella in theatre.
The short play is the Cinderella of the theater. For over five centuries, short plays were relegated to parts of church service and to churchyards; to school halls and town centers; to converted barns and little theaters. In the nineteenth and early twentieth century, the short play was the special province of amateur groups; it was largely ignored by professionals.
But like Cinderella, the short play has after long neglect come in its own. Since the first World War [...] the theater public has displayed as much interest in performance of short plays – even in commercial theaters of New York, Los Angeles and Chicago – as it has in the traditionally more popular full-length plays. [...]
The brevity of form, of course, dictates certain necessities. There are resemblances between the short play and the short story. Both deal with a single significant incident; both introduce only a few characters; both involve the audience immediately and strive for a maximum effect in a minimum time. In neither is there time to develop human beings in all their dimensions (as they are shown in novels or long plays). In both there is concentration, compression, suggestion – and often the limitation makes for greater force. Sometimes the short play is even more concentrated than the short story.