Leo points out in chapter 40 that outstanding art (or “good art”) is blended in both lucid, coherent and understandable form while substandard art (or “bad art”) is muddled, inarticulate and illogical.
Leo asserts that the degree of art incoherency depends on the range that distinct piece of art is confined to a particular group or class and, therefore, loses meaning or significance to individuals exterior to the confined group. I concur with this assertion since anything which includes touches on entire mankind needs a global-wide approach to be universally accepted. In chapter 12 Leo proclaims that art can only be pertinent if it can be related to most humankind aspects. Leo asserts that devout ideas (or “thoughts”) are habitual to mankind, and therefore art can only be universal if it blends in this devout expression. In his point of view, Leo affirms that aesthetic aspects ought to be both devout and ethical. Leo ends up concluding that the chief objective of art ought to be denoted as per his personal ethical standpoint. I do not concur with this assertion since Leo dogmatized this aesthetic approach that it could only be defined according to his approach.
A script can be compared to a podium, platform or pulpit upon which performance is unfolded to an audience. It can also be compared to a sailor’s compass which navigates and subdues the path the sail trails on. A script can also be compared to a barometer device since it reflects how the entire drama or play will unfold. A script can also be compared to a Childs’ tabula rasa which is akin to a blank sheet of paper ready to be modeled by unlived circumstances and occurrences.
A script is simply a draft of the play or drama. Apparently, it doesn’t include the motif’s (or theme) of the play. It does not include distinct characters and their roles. It also does not include key aspects such as musical rhythm or specific rhythm at specific theatre portions. Scripts also do not include coherence in style. It also doesn’t detail on the language to be used from plot to plot or ranging from a single actor to the next. In addition, scripts lack practical elements such as directives, actor titles, costumes, and properties (such as stage lights, sounds, and actors make-ups).
The missing information in a script should not be included in it. The missing information gives liberty to the playwright or the script author to alter key aspects, characters or the entire plot as it is deemed fit. The missing information in the script also allows the playwrights to explore innovative creativity. In addition, they also reconsider remodeling the script to a different art or theatre.