Oversubscription (art)
By overdrawing a figure in theater , film , literature or the visual arts is not designed individually, but rather strongly typified, mostly with a view to either clarification or a comic effect.
Stylistic devices
The clarity increases the recognizability (e.g. white for the innocence, black for the villain in melodrama ). Likewise, something is made solemn, exaggerated, lifted out of the everyday through clarification. If, on the other hand, this clarity becomes too clear, the representation turns into a caricature . Where the limit lies largely depends on the viewer.
The facial expressions of a figure as well as the emphasis on what is spoken can appear overdrawn and thus unrealistic. Exaggeration can also be given by text that puts sentences in the mouths of the characters that they would never say in real life.
This trick is used by comedy series , for example , which often do not claim to be realistic, but simply want to entertain and signal their harmlessness by overdrawing. They create a clear distinction between “fiction” and “non-fiction” parts of a television program (as an easy-to-manage game / serious distinction).
“Charging” in the art of acting
Over-drawing was increasingly avoided in European acting. Up until the First World War , actors were still engaged in roles that they had mastered, such as the “young lover” or the “funny old woman”. In the course of naturalism since around 1900, however, it became customary to design the roles no longer according to these traditional templates, but as personal and unique as possible. The traditional “batches” ( French for “ roles subject ”) that still existed and are in the opera or farce have since looked outdated and were often underestimated. Often the term batch role is equated with an insignificant supporting role for which no differentiated figure, but an easily recognizable type is required.
The term “charging” (also “outrating”) is derived from this negative meaning and denotes an exaggerated, unnatural, unrealistic, gimmicky style of play. In naturalistic theater, on the other hand, it is assumed that the characters could actually exist. Professional acting often tries to differentiate itself from unprofessional by avoiding charging . However, batches are also used as art, similar to masks. For example, “ alienation effects ” can be achieved through typified or exaggerated play.
literature
- Manfred Brauneck, Gérard Schnellin (ed.): Theaterlexikon, Rowohlt, Hamburg 1986, vol. 1, p. 244, 766.