The Two Different Methods . As A Child, One Tends To Impersonate

1013 WordsMar 15, 20175 Pages
The Two Different Methods As a child, one tends to impersonate through miming, singing, acting those living and imaginary characters of one’s mind. However, as a one gets older, society through education would establish boundaries to have access and use of our own imagination. These boundaries define our behavior until we get constricted and somehow fear to use our imagination as adults. Having those social restrictions in mind, some adults do not lose their sensitivity to see, analyze and impersonate characters from their imagination or from a play script. The best place created to experience that creativity of imagination with no boundaries is in the theater. Theater deriving from the Greek word as “place to see” is a place where people…show more content…
One example of this element given in the text is Diction. In the text, Zola claims, “we still use a theatrical voice, a false mode of recitation which is very obvious and very disagreeable” (Pg.366). Without forgetting that Zola made this statement for a theatrical performer of his era, Diction it is still something that even in today’s era actors works in order to get rid of that false vocal recitation. In his approach of theater, Zola wanted to emerge reality onto the stage in order for the audience to deeply emerge in the play and make them live the same experience of the performers. However, not every theater lover has the same approach to the theater as Zola. Brecht had a distinct approach to it. In the reading, Bertol Brecht a German playwright from 1898-1956 had a different approach to theater than Zola. Bretch introduces the Alienation effects in Chinese Acting in 1935. In contrast to Zola’s approach to theater with Naturalism, Brecht introduces Alienation between the performer and the setting but not from the audience. The reason to this alienation, according to Brecht’s point of view is that “the performer’s self-observation, an artful and artistic act of self-alienation, stopped the spectator from losing himself in the character completely, i.e to the point of giving up his own identity, and lent a splendid remoteness to the events” (Pgs. 455-456). Brecht’s method contrast to Zola’s by also claiming

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