Language And The Mise In Scene In Luigi Pindello And Anton Chekhov

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When considering anti-theater the observation of not only the performance, but also the mise in scene should be taken into account. Among other occupations, Antonin Artaud was a theater director, and in his book The Theater and It’s Double he explains how the totality of the work is given power through language and the mise in scene. This essay will consider how anti-theater incorporates these aspects of a play in the works of Luigi Pirandello and Anton Chekhov. According to Artaud, “Theater will not be given its specific powers of actin until it is given its language”. This type of language involves more than a character saying his lines in a play. This language includes the intonations they use as well as their physiognomies. Artaud goes on to say that, “the question, then, for the theater, is to create metaphysics of speech, gesture, and expression, in order to rescue it from its servitude to psychology and ‘human interest.’” (89, 90). Thus, this specific use of language is inter-connected in order to bring the dialogue of the characters to life, and to arouse and keep the audience’s attention. An example of this can be found in Luigi Pirandello’s play, “Henry IV.” The scene in act II of “Henry IV” has other characters congregate at Henry IV’s castle as the doctor tries to shock the fake king out of his delusional madness of thinking he is really a king. Some of the characters believe that Henry IV is somewhat sane, while others believe that he is completely mad. It

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