Realism In Phantom Of The Opera

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Theatrical realism and psycological realism emerged as a reaction against the popular entertainment of Melodrama, Music Halls and vaudeville. Melodrama The techniques of melodrama, meaning “music drama”, began to develop at the start of the 18th century where spoken dialogue was combined with short musical accompaniment, resulting in a happy ending for the hero and heroine. These plays were thematically inspired by Manichaeism, a philosophical idea taken from 3rd century prophet Mani, depicting “a simplified moral universe” (Trumbull, 2004, para. 2) where the forces of good and evil were embodied by the characters. In Melodrama, antagonists were irredeemably evil while protagonists were faultlessly good, there was no nuance. Actors played two-dimensional caricatures, with specific gestures and ways of moving to indicate exactly how the character was feeling. For example, Special effects such as explosions, fires and earthquakes were also common. Early horror films encapsulate the style perfectly, and they were so popular that there is an abundance of evidence surviving to this day. The Phantom of the Opera (1925) was directed Rupert Julian and took inspiration from the same novel as Andrew Lloyd Webber’s hit musical of the same name. Fifty minutes into the film, Christine reveals the Phantom’s true face in a sequence of wide open eyes/mouth, stumbling backwards, clutching her chest and collapsing to the floor to signify her utter horror at the sight followed by pleading

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