MF+realism

There are important differences between __And the Soul Shall Dance__ and the video illustrations linked to the schedule page demonstrating "realism" in the European, English and American theatre. Briefly discuss a few of them that you consider the most important.

__And the Soul Shall Dance__ follows the guidelines of poetic realism, while the video examples illustrate realism in a more typical sense. The play is a stylized representation of what the author remembers of her life growing up in a similar situation to Masako, and she uses imagery in the play to convey some of the struggles she remembers the Japanese community facing at that time. This approach adds aspects to the play that do not completely fit under realism.

The scenes of the play are memories of Masako, and the audience views many of them with Masako as she watches the other characters (1). In the video examples, the audience alone watches, while all the actors present are involved in the scene. In the videos, conversations between the characters are what move the plot along. If memories are used, an actor describes them to another member of the cast such as in __Iceman Cometh.__

__And the Soul Shall Dance__ also contains many hidden meanings and symbolisms portrayed by how the set is created and how the characters interact with each other, especially in how Emiko is presented (2). In most realistic pieces, all meaning is conveyed outright. Any problems the characters face are clearly explained. Ibsen’s work shows how he has all meaning explained in the speech between the characters. And his plays lead the audience through the plot very clearly (3).

__And the Soul Shall Dance__ has been described as using lyricism (4). In many ways the play is a realistic portrayal of life for Japanese immigrants at that time, but it also uses other elements to convey extra meaning.

Word Count: 272

References: 1) Arnold. //The Creative Spirit//, p. 255 2) Arnold. //The Creative Spirit//, p. 219 3) Richmond Lecture. 3/2/2012. 4) Arnold. //The Creative Spirit//, p. 255