Self-anointed revolutionaries and other theoreticians have tried throughout this century to make the theater esoteric and archetypal, depicting a delirious dreamscape, an incantatory religious ritual, a shower of aimless verbal fireworks or perhaps a murmured hint of psychotic menace. Too often setting such moods has been an end in itself rather than a means to what satisfies audiences: telling a coherent, affecting story. In the effort to avoid being old-fashioned, to prove that the stage has an authentic voice beyond the naturalism commonly found in film and TV, theater directors often turn their backs on narrative or at least overlook basic...
Theater: Love of Intrigue: PRIDE AND PREJUDICE
PRIDE AND PREJUDICE by David Pownall
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