Aristotle - Poetics excerpts

Theatre Theory: Major Critical Texts

Editors: Daniel Gerould
Scope: A compilation exploring critical texts from Aristotle and Zeami to Soyinka and Havel addressing the evolution and intricacies of theatrical theory.

Brecht and Boal vs. Havel: Brecht and Boal viewed theatre predominantly as a mechanism for social critique, a weapon against oppression, emphasizing tangible possibilities for change. Havel, on the other hand, regarded the recognition of hopelessness as liberating, particularly under totalitarian regimes that forbade expressions of despair.
Cultural Context: Havel lived under regimes that promoted relentless optimism while denying public acknowledgment of absurdity. His non-ideological stance on absurd theatre was pivotal in articulating truths that resonated deeply within societal contexts, contributing to the fall of stagnant regimes in Eastern Europe.

Velvet Revolution of 1989: Theatre emerged as a critical player in Czechoslovakia's Velvet Revolution. Havel's ascent from a political prisoner to the head of state illustrated the profound symbiosis of theatre and societal transformation during this period.
- Theatrical Impact: This period signifies one of the most significant integrations of theatre into political discourse and societal reformation, forming a grand spectacle of life (theatrum mundi).

Aristotelian Background: Aristotle's influence on theatre theory is foundational. Living from 384-322 BC, he insisted upon detailed studies of various forms of poetry, notably his work on Tragedy and Comedy.
Disciplinary Focus: His focus on dramatic techniques reflects a shift from the sacred aspects of performance in Greek theatre to more secular concerns about plot construction and character development during the fourth century.
Tragedy’s Evolution: As theatre transitioned, through Aristotle's lens, traditional religious rituals of tragedy evolved into more nuanced explorations of plots, characterized by intricate and surprising elements of storytelling.

Art as Imitation: Aristotle defines poetry and its genres as forms of imitation (mimesis), which vary by means, objects, and manner of representation.
- Dramatic Structure: He emphasizes the significance of plot (fable) over character, where the narrative's structure is paramount in evoking the desired emotions of pity and fear.
Elements of Tragedy:
- Components: Aristotle identifies six components—Plot, Character, Diction, Thought, Spectacle, and Melody—as foundational to effective tragedy. Among these, the plot serves as the lifeblood of the tragedy, demonstrating the inherent actions leading to happiness or misery of characters.
- Unity of Action: He articulates that a well-composed tragedy must have unity—beginning, middle, and end—to convey a comprehensive action that elicits emotional responses.
Types of Discoveries: Distinct forms of discovery enhance the dramatic effect, with Aristotle noting that effective tragedies often incorporate peripety (reversal of fortunes) and discovery (recognition) to elicit audience catharsis.

Legacy of Theatre: The journey from Aristotle's critical texts to modern adaptations demonstrates the enduring evolution of theatrical theory, highlighting the importance of imitating human action and representing complex emotional truths through dramatic mediums.
- Impact on Society: Intellectuals like Havel synthesized these theories into living practice, demonstrating the transformative power of theatre within societal movements.