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FINALReview(TH105C)TheatreAppreciation Chapter7—TheatreTraditions:EastandWest Sinceatheatricaleventtakesplaceinrealtime,theatreexistsinthepresentmoment.Butthroughitsrevivals, adaptations,parodies,continuedtraditions,andtheinevitablecomparisonsmadebetweennewandearlier plays,theatreisalsodeeplyrootedinthepast.Althoughtheexactoriginsoftheatrearelostinthemistsof prehistory,existingevidencesuggeststhatitgrewoutofacombinationofritualandstorytelling. Thefirstextant,recordeddramaistheancientEgyptianAbydosPassionPlay(atleast2500B.C.) IntheWest,theancientGreeksproducedavigoroustheatre. TheRomanswouldcopyandadapttheGreekcreations. Medievaldramabeganaspartofchurchliturgy,butwouldgrowintocommunityfestivals. WiththeRenaissance,professionaltheatresemerged. WriterslikeWilliamShakespeareadvanceddramaticwriting. TheroyaltheatreoftheEnlightenmentconsolidatedandrefinedpriorachievements. Neoclassicaltheatreattemptedtoregularizewritingandproductiontoadefinedsetofrules. TheatreinAsiacontainsmanyrichtraditionsthatdiffergreatlyfromthoseintheWestandfromeachother. Sanskritdance-dramabeganbefore200B.C.andremainedpopularfor1000years. Amorerecentcreation,Kathakali,isthemostpopulardance-dramaforminIndiatoday. JapaneseNohtheatre,theoldestcontinuouslyperformeddramaintheworld,ishighlyrevered. Japan'sKabukitheatrebeganasandcontinuestobeapopularform. InChina,Xiqu("tunefultheatre"),knownasChineseOpera,wouldbranch,overhundredsofyears,into approximately360differentvariations,thebestknownofwhichisBeijingOpera. ManyofthesetraditionsoftheEastandWestcontinuetoday,andthosethatdonotstillexertaninfluenceon moderntheatre. Dionysus Aeschylus Sophocles Euripides Orchestra Theatron Skene Tragedy Comedy Plautus Terence Seneca QuemQueritas Mysteryplays mansions CorpusChristi WilliamShakespeare GlobeTheatre Chapter8—TheModernTheatre RoyalTheatre Calderon PierreCorneille JeanRacine Moliere Neoclassicism Romanticism J.W.vonGoethe FriedrichSchiller Sanskrit Kathakali Noh(No) Kabuki Xiqu(ChineseOpera) Bunraku Themodernperiodanditsdramawereshapedbyworld-changingforces,suchasindustrial-technological revolution,democraticrevolutions,andanintellectualrevolutionthatwoulddisruptearlierconceptionsoftime, space,thedivine,humanpsychology,andsocialorder.Asaresult,atheatreofchallengeandexperimentation emerged. Realismwasconceivedasalaboratoryinwhichtheillsofsociety,familialproblems,andthenatureof relationshipscouldbe"objectively"presentedforthejudgmentofimpartialobservers.TheplaywrightHenrik Ibseninitiatedtherealisticperiod.Whilerealistplayswouldaddresswell-definedsocialissues,naturalistplays offeredasimple"sliceoflife"freefromdramaticconvention.Acounterforcetorealism,initiatedbysymbolism, beganinthelatenineteenthcentury.Themovementspreadquicklyandaffectedeveryaspectoftheatrical production.Itgaverisetoaneraof"isms."Suchantirealistictheatredoesnotdiscardrealitybutenhancesit withsymbolandmetaphor. Brieflyexaminingelevenofthesemovementsmakesthediversequalitiesandperspectiveswithinantirealistic theatreapparent.Fromtheemotionaland"irrational"perspectivesofTheatreofCrueltytotherationaland thought-provokingnatureofIntellectualComedy,pre-WorldWarIIantirealisticapproachessuchas Expressionism,Theatricalism,andtheFrenchAvant-Gardechallengedandextendedthelimitsoftheatricalart. FollowingWorldWarII,TheatreofAlienationwouldintroducenewtheatrepracticesandreawakentheatre's senseofsocialresponsibility,whiletheTheatreoftheAbsurdwouldexpressthefutilityofallactionand pointlessnessofalldirection. PhilosophicalMelodramaacceptedtheAbsurd'spremisethathumansarealoneinasilentuniverse,buttakesit asachallengetocreatinganeffectivelife.TheComedyofContemporaryMannerswouldunmaskthe ridiculousnessofsocialconvention,whilePoliticalSatireruthlesslyrevealsthehypocrisiesandexploitationsof politicalandeconomicsystemswithinacomedicandoftenhighlystylizedframework.TheCaseStudyuses, mostoften,medicalproblemsasaperspectiveforphilosophicalinvestigations,frequentlytakingtheaudience intoandbackoutofthe"patient's"experience.Bycontrast,theostensiblerealismofSuprarealismisactually suffusedwithamenacingobscurityandmythicsymbolismthatseeksoutpatternsbelowsurfaces. I. REALISM II. NATURALISM “Slice-of-life”-EmileZola-AugustStrindberg-MissJulie III. ANTIREALISM TheSymbolistRebellion(1880s)-PaulFort-Théâtred'Art Maeterlinck–TheIntruder(1890)-PeterPan(J.M.Barrie) IV. Eraof"Isms" theatricalism-futurism-Dadaism–idealism impressionism-expressionism-surrealism V. Stylized Ibsen–Shaw-ThéâtreLibre-AndreAntoine AntonChekhov-MoscowArtTheatre TheFrenchAvant-Garde(Surrealism):UbuRoi(1896)byAlfredJarry Expressionism:TheHairyApebyEugeneO’Neill(1921) Metatheatre:SixCharactersinSearchofanAuthor(1921)byLuigiPirandello TheatreofCruelty:JetofBlood(1925)byAntoninArtaud PhilosophicalMelodrama(Existentialism):NoExit(1944)byJeanPaulSartre TheatreoftheAbsurd:WaitingforGodot(1953)bySamuelBeckett TheatreofAlienation:GoodPersonofSzechuan(1943)byBertoltBrecht ComedyofContemporaryManners:BedroomFarce(1975)byAlanAyckbourn PoliticalSatire:SeriousMoney(1987)byCarylChurchill Chapter10—TheTheatreToday Thetwentiethcenturywasparticularlyviolentandthetheatrereflectedandrespondedtoitstensionswitha dramaturgicalviolenceandabandonsthatbroughttheageof"modernism"toacrisisandperhapsconclusion. Asthetwenty-firstcenturybegins,aneweraappearstobeemerging.Threemajormovementscharacterize theatretoday: 1)Postmoderntheatretendstorecycleand"quote"fromculturalformsandintellectualmovements fromthepast.Itisself-referentialandcontainsitsowncritique,parody,ordeconstruction.Itstems fromantirealistmovementsandmostsignificantlyfromthephenomenonknownasDada.Suchworks alsooftenrejectchronologicallinearity,sothatflashbacks,scenesinreversechronologicalorder,and quickshuttlingbetweentimesarecommon.Postmodernexperimentshaveemphasizedthesenses throughtherealityofnudityintensionwiththedramaticfiction,orscene,lighting,andsounddesigns thatmaybespectacular,semi-autonomousfromtheplay'saction,blatantlytechnologicallyenhanced. 2)Today'stheatreisalsoanopentheatre,openandopeningtovoicesunheardormuffledinthewhite, Western,male-dominatedtheatreofyesterday.Atheatrebyandaboutwomennowfeatureswomen asleading,internationallyacclaimeddirectorsandprize-winningplaywrights,whilefeministtheatre ensembleshavebroughtwomenforwardasagentsofchange,indramasandsociety.Atheatreofethnic diversityfeatures,mostvisibly,astrongandgrowingpresenceofAfrican-Americans,Latino-Americans, andAsian-Americansbothininterracialtheatricalproductionandethnicallyidentifiedtheatres.Since the1960s,sexualpreferenceissueshavebecomeprimaryorsecondarytopicsofanumberofplaysand haveemergedasadefiningissueformanytheatregroups,festivals,andpublications.Lastly,theatrehas becomeopeninthelevelofriskattemptedandacceptedintherealmsofdangerouspolitics,language, andsexualrelations,althoughexternalattemptsatregulationandcensorship,successfulandfailed,are stillarecurringfactoflifeforthetheatre. 3)Atheatreofrevival,meaningremountingtheplaysofthepast,includespostmodernproductions thatseektobringfreshlifetopreviouslywrittenworks.Suchatheatrehasbroadandlegitimateappeal andconstitutesmosttheatricalactivityintheworld.Theatretodaycanbefoundinamoreplacesand moretypesofplacesthaneverbefore.Broadway,Off-Broadway,Off-Off-Broadway,andnonprofit theatreinAmericaoffermostoftheprofessionaltheatre'srevivals,stagingsofnewworks,and experimentation.Amateurtheatreinacademicandcommunitysettingsinmanywaysreflects professionalpractices,butoffersafinanciallysaferenvironmentforexperimentation.Thetheatreis vitalinternationally,withEngland,France,andGermanyprovidingparticularlyrichmixesoftraditional andoriginalwork. Chapter11—TheCritic 1)Whatarethecriticalperspectivesthathelpviewersfocusontheirresponse? 2)Whatarethecharacteristicsofnewspaper,scholarlyandstudentcriticism? 3)Whatarethequalitiesofaneffectivecritic? Professionalcriticismusuallytakesoneoftwoforms. Productionreviewsgenerallyappearinnewspapersandareanimmediateresponsetotheplay. Scholarlycriticismoftenappearsinjournalsbypersonsmoreknowledgeableabouttheatre. Studentcriticismusuallyadoptsoneoftheseperspectives,butdifferentstandardsapply. Wearethecritics.Theatredemandsmutualandactiveparticipation;therefore,weareallcritics.We canuseourroletoholdtheatretohighstandards,bydevelopingourawarenessofqualitiesofthe theatre.Weneedtobeobservant,informed,sensitive,demandingandarticulate.Thebestcriticsare knowledgeable,fairandopen-minded. Terms: dramaticcriticism aestheticjudgment entertainment Additionalmaterialfromthissemester REPRESENTATIONAL/PRESENTATIONAL productionreviews scholarlycriticism studentcriticism THEATRECONFIGURATIONS:Arena–Thrust–Proscenium–Other SOUTHPACIFICbyRichardRodgersandOscarHammersteinII;JoshLogan;JamesMichener CREATINGCLAIREbyJoeDiPietro