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Transcript
POLITICAL THEATRE
INTRODUCTION
"Political theatre" is a term that has been used to refer to three different things:
• theatre that comments on political issues
• political action or protest that has a theatrical quality to it
• any action by politicians that is intended to make a point rather than accomplish something substantive
The political theatre begun in the very early years in Athens. Satire, comedy and drama performed by comic poets in
theatres had influenced on public opinion in Athenian democracy. These plays were performed in amphitheatres,
central arenas used for theatrical performances, religious ceremonies and political gatherings. The fact that they used
the same place for performances, political discussions or religious celebrations give us an idea of how much they
used to compare politics with theatre.
In later centuries political theatre has changed place and form, depends to the country, the society, the political issues
and the date.
Often political theatre has been used to promote specific political theories or ideals, for example Marxism and the
development of communist sympathies.
My idea about the subject I choose is, making a research about how theatre and politics compared together in the
past inside different cultures. People that made a change to the art world inside a theatre and how the political
theatre can make the audience think, wonder without a TV or a newspaper but in a way that help them keep their
critical thinking.
POLITICAL THEATRE IN 20th CENTURY
We shall not need to speak of a play's poetry ... something
that seemed relatively unimportant in the immediate past.
It seemed not only unimportant, but misleading, and the
reason was not that the poetic element had been
sufficiently developed and observed, but that reality had
been tampered with in its name ... we had to speak of a
truth as distinct from poetry ... we have given up
examining works of art from their poetic or artistic aspect,
and got satisfaction from theatrical works that have no sort
of poetic appeal ... Such works and performances may
have some effect, but it can hardly be a profound one, not
even politically. For it is a peculiarity of the theatrical
medium that it communicates awarenesses and impulses
in the form of pleasure: the depth of the pleasure and the
impulse will correspond to the depth of the pleasure.
Bertolt Brecht(1951)
This volume provides a theoretical framework for some of the most important play-writing in
Britain in the second half of the twentieth century. The book begins with a discussion of the
way that theatre has been used to convey a political message. Each chapter is then
devoted to an exploration of the engagement of individual playwrights with left-wing political
theatre, including a detailed analysis of one of their major plays. Despite political change
since the 1980s, political play-writing continues to be a significant element in contemporary
play-writing, but in a very changed form.
I will use this book to give examples of how British play-writers used to combine theatre and
politics and how this changed the last few years since 1980.
This is the first book to explore the world of the theatre in Russia after Stalin. Through his work
at the Moscow Art Theatre, Anatoly Smeliansky is in a key position to analyse contemporary
events on the Russian stage and he combines this first-hand knowledge with valuable archival
material, some published here for the first time, to tell a fascinating and important story.
‘The classics became this theatre’s ecological niche. They gave Efros opportunity to touch on
the eternal themes that had been eliminated from Soviet repertoire. He brought back to our
stage the human striving to understand what belief, lack of belief, truth, death and retribution
are. These themes made totally new demands on the actor’s art, on the psychological realism
that Russia had been so proud of ever since Stanislavsky.’
I will use this book to give information about Russian political theatre and how Stalin changed
it.
"It tells a common story of the battle against the new
poverty, of once lavishly funded theatres reduced to
penury, or artists surviving against the odds, and fighting
back. As a historical account, it is invaluable for all
students of the theatre. As a record of human
determination, it will inspire everyone." - John Elsom,
International Association of Theatre Critics
Because of the quantity of people that giving their
experience about how the theatre was to the eastern
Europe after Iron Curtain I think I will have a strong
research about different places and different approaches
from all these cultures.
Stages in the Revolution is a ‘journalistic’ survey of politic (or ‘alternative’ or ‘popular’)
Theatre in Britain in the decade after the magic year 1968.
A book that will give me evidence about all the political and society changes and how
Theatre changed since that time in Britain.
Were those who worked in the theatres of the Third Reich willing participants in the Nazi
propaganda machine or artists independent of official ideology? To what extent did Richard
Strauss and Carl Orff follow Nazi dogma? How did famous directors such as Gustaf Grüdgens
and Jürgen Fehling react to the new regime? Why were Shakespeare and George Bernard
Shaw among the most performed dramatists of the time? And why did the Nazis sanction
Jewish theatre? This is the first book in English about theater in the entire Nazi period. Based
on contemporary press reports, research in German archives, and interviews with surviving
playwrights, actors, and musicians, it is a much needed guide to this neglected area of
European culture.
A strong piece of evidence on how theatre was that kind of period and how directors, actors
musicians worked and follow the Nazi dogma. How strict Nazi were with the art and
especially theatre. Were they afraid of it?
My idea about the subject I choose is, making a research about how theatre and politics compared together in
the past inside different cultures. People that made a change to the art world inside a theatre and how the
political theatre can make the audience think, wonder without a TV or a newspaper but in a way that help them
keep their critical thinking.
Michael Billington, 7 NOVEMBER 2014
The Guardian
‘Speaking truth to power: this is the rebirth of political theatre
Too much film and television is cursed by blandness. Society’s mirror now is the stage’
http://www.theguardian.com/commentisfree/2014/nov/07/rebirth-political-theatre-society-stage
The author in this article with reference to play-writers
and theatre plays nowadays as new play in London
which called Mike Bartlett’s King Charles III, he is
talking about the failure of TV and film and the rising of
theatre. Also he refers to young people who are trying
to generate new forms of political theatre.
This article will help me to give a variety of examples
about the movement in political theatre in Britain
nowadays.
‘King Charles III, speculating on the dangers of a
politically interventionist monarch, is the most popular new
play in London.’ Photograph: Johan Persson
Tara Bracco, SEPTEMBER 12TH, 2008
The Brooklyn Rail
‘The
Power of Political Theatre’
http://www.brooklynrail.org/2008/09/theater/the-power-of-political-theater
Tara Bracco in this article talking about how theatre is strong in
comparison with TV and film, what theatre can give to the
audience and what the artists doing inside the theatre. Also she gives
a lot of information about politics and how she can find similarities with
the art world.
‘Artists decide what stories get created, seen, and heard by the public.
They are actively shaping the culture around us, as theatre raises the
antenna of people’s social and political consciousness.’
The strong way of her writing would help me to give similarities
about artists and politicians in a way of how art can be political.
Oliver Wainwright, 15 October 2014
The Guardian
‘Russia’s stage revolution: when theatre
was a hotbed for impossibly space-age
design’
http://www.theguardian.com/artanddesign/2014/
oct/15/russian-theatre-design-revolution-avantgarde-v-and-a
This article it’s just give knowledge about designers and
their work in Russia’s revolution (Soviet Theatre). So when I will
write about Soviet Union and Russia I will know historical and history
of design in their country from some really good designers.
Lyubov Popova’s fantastic
mechanical set for The
Magnanimous Cuckold, 1922.
Photograph: V&A
Matt Trueman, 3 November 2011
The Guardian
Noises off: theatre can change the
world … well, maybe
http://www.theguardian.com/stage/the
atreblog/2011/nov/03/wide-universaltheatre-change-world-maybe
This article is talking about theatre but in a
different direction. How society put the artists
in the category other.? He is talking also about
people that there are fighting every day with
the society for the arts and how they do it.
Because he is talking in a very different
direction but still on subject, I can compare
how society accept the artists and what does
that mean about politicians, their relationship
with the arts. The circle of political theatre.
Marcel Marceau set out to make his audience feel, see and
hear the invisible. He wanted to reach out to children , to draw
them into theatre. His work has laid the ground work for
teaching language worldwide. His dedication has helped
change the world for the better. (pinterest)