"Three Laws" And Its Application In Modern Drama And Television

"Classical Unities" as the creative principle of the 17 th century European theater neoclassical movement generally follow, as the French classical dramatist not violate the provisions of pressing ahead, and long-term dominance in Europe Plays. It provides dramatic plot, time and place must be maintained to the same, that is, the plot of the script can only have a clue, the story takes place in the same place, the story be completed in one day. After the 18 th century, with the rise of the romantic drama, " classical unities" constantly being attacked dramatist and, after time has experienced controversy and protest, gradually being broken. Due to the excessive demands of time, concerted action, location, though dramatic structure intact but tightly restricts the development of drama and ideological shackles of the audience, and thus have been abandoned disuse.Throughout the " classical unities" development, to be sure the Renaissance, to the seventeenth century in France, the formation of strict rules, during the debate continued, the playwright who also came to understand which there are disadvantages favorable. Later, the Enlightenment and the Romantic period, he too negative "unities." The early 19 th century theorists of the 20 th century is still opposed to people. But the "unities" only as a drama script writing rules, requirements and limitations in fact it is a great drama intensified conflict and character of the play, which is both in terms of the stage show or theatrical performances have beneficial. I have many years of practical experience on stage and drama, on the basis of "three unities" rule created out of play on the stage practice has a profound feeling, although it is a script writing rules, but also on the table caused a subtle art director impact. Modernist Drama(Absurd, Pioneer Theatre, a small theater drama, environmental theater, etc.) on the "unities" application dramatic works are not uncommon. This form of tension in the arena, the advantages of the characters portrayed on can not be denied, so it should be more fair and objective look at this form. And should be used more dialectical objective of this rule to look modern change and extension, as well as its flexible application of modern drama film.I recall their own professional learning in the undergraduate performances show drama "Thunderstorm", "Silent", "Waiting for Godot" and other works are all in line with modern drama and "unities" form requirements. Undergraduate often adapt the modern novel, multi-screen movie theater as a one-act play, such as "Beyond the Horizon", "smoked oak," "Farewell My Concubine" and so on for the show to learn, after a change in the form they are exactly in line with "unities " form. I watch a lot of all kinds of different forms of drama works in the Taiwanese drama workshops when Stan "no pay" and found the godfather of Taiwan’s pioneer theater director, Mr. Stan drama script he also used the "unities" form. It makes me can not help but feel neoclassical "unities" frequent use and appearance is not a coincidence, as an actor and adapted screenplay who also has a unique perspective on this issue." Classical unities" in art reflects the high degree of spatial and temporal aspects of concise, compact, concentrated, etc., but there are character single, typed on the dramatic structure absolute, stylized weaknesses, the relative restraint of Dramatic Art development of. However, the development of modern drama is diversification, "unities" of the use of a more flexible and not rigid formality, rational use of unities will provide a more abstract form of expression and rich content for drama rather a hindrance.