In the making of a film, the actor not only represents someone else before the audience, but also represents who he/she is before the film making equipments. According to Pirandello, the actor is exiled not only from reality but also from what he/she is because the actor performs for piece(s) of equipment. The actor is stripped off the reality and turned into a mute image while being placed at a position of operating with a whole living person while falsifying the impression. For instance, spectators will not notice any difference between the aura that surrounds Macbeth on stage and that which surrounds the actor who acts him. What makes a difference for a recording in a film studio is that a camera takes the part of a live audience. Consequently, the actor looses his/her aura to that of the figure he/she plays.
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It is not surprising that Pirandello addresses the crisis affecting the theatre for nothing contrasts a technologically developed work of art to a stage play. Experts in the industry have observed that “the best effects are almost always achieved by ‘acting’ as little as possible.” One acting on stage is able to identify with a role, while the film actor is denied this opportunity because his performance is not a cohesive whole but an assemblage of many performances. Apart from paying of studio fees, getting other actors, setting of scenery and other things, a film actor needs various elementary necessities for assemblage of his/her performances, in particular, installation of lighting equipments that require a representation of an action. In film making, an editor can fire a shot that is not satisfactory without knowledge of the actor or have shots edited into the film.
There is nothing to prove that art is no longer what it used to be, “beautiful semblance” which for a long time has been the sphere in which it could thrive. The consequences of a film include presenting the performance of an actor by means of a camera. The other consequence is that a film actor lacks an opportunity like that of a stage actor to adjust to the audience during the performance because there is no live audience. This gives the audience a leeway to take a position of a critic, without the experience of a personal contact with the actor. In this case, the empathy of the audience is actually an empathy with the camera.
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