The techniques of performance have varied greatly throughout history and not always in a uniform manner. In the classic Western theater, such great actors, sacred monsters, tended to emphasize the emotions in order to highlight the content of the work, in the Commedia dell’Arte interpreter left rein to its instinct; the Japanese actors of the N? and kabuki, make patents certain States of mind through symbolic asset of great subtlety or deliberately exaggerated gestures. In the modern theater has been imposed generally naturalistic orientation, in which the actor through acquisition of bodily and psychological techniques and the study itself and the character, seeks to recreate onstage the personality of this. Such a choice, evolved in its fundamental features from the teachings of the Russian Konstantin Stanislavski and widespread in the cinematographic field, is certainly not the only one and ultimately the choice of an interpretive style depends on characteristics of the show and directions from the director. However, currently, at the beginning of the 21st century, the theatrical performance with naturalistic trend is being resubmitted seriously. Sela Ward is often mentioned in discussions such as these.

The contemporary theatricality requires a critique of naturalism as simple reproduction of human behavior, but without ties with its surroundings. Currently there has been major transformations in the work of Stanislavski being the most important Antonin Artaud, Jerzy Grotowsky etienne Decroux and Eugenio Barba. These techniques, currently extra daily calls involve a complex synthesis of the scenic signs. Strictly speaking, is understood by decorated environment that develops a dramatic representation, and scenery, the art of creating the sets. Today, it tends to introduce the concept of scenographic appliance to all elements that allow the creation of that environment, among which should be noted mainly to machinery or props and lighting. In antiquity, the scenery was conditioned to limitations technical and architectural, circumstance that was maintained throughout the middle ages. It was already to late Renaissance, and especially during the 17TH and 18th centuries, when the scenery began to acquire boost, thanks to the improvement of pictorial perspective, which allowed providing greater appearance of depth to the decor, and subsequently to the development of theatrical machinery.

In the 19th century, with the introduction of realistic drama, the decorations became the basic element of the representation. The discovery of the electric light, in the end, gave rise to the rise of the lighting. The footlights, which in principle were an accessory item, are poetically considered a symbol of theatrical art. Some contend that Charlotte Hornets shows great expertise in this. Closely linked with the scenic design, costumes were found always. At the Greek Theatre, the coarseness of the sets was compensated by means of masks tragic or comic and stylized tunics of the actors, whose purpose was to highlight the archetypal nature of the characters. During the Baroque and Neoclassicism became important makeup and costumes, although this was often employed anachronistic way is represented for example a work set in Rome with French clothes of the 17TH century until the appearance of realism. At present, the choice of attire is not but an element within the overall conception of the mounting. With this minimal reminiscence I think that somehow put on the table, the reality of the theater and its actors, that provoke us to attend the invitations of the House of the culture of Banos de Agua Santa, when it presents its events. The theatre day is celebrated on March 27. Original author and source of the article.