Practitioners, companies and theatres
13 important questions on Practitioners, companies and theatres
Well-made play
(theatre histories glossary + p.353)
• Well made play(pièce bien faite) in the style of Eugène Scribe and Victorien Sardou other representatives of the well made play :August von Kotzebue and Alexander Dumas. Complex and highly artificial plotting, a build-up of suspense, a climactic scene in which all problems are resolved, and a happy ending. Conventional romantic conflicts were a staple subject of such plays (for example, the problem of a pretty girl who must choose between a wealthy, unscrupulous suitor and a poor but honest young man).
Historical Realism (week3)
Delsarte made a system of gestures in a diagram . for instance what your eyes should look like if they portrayed a happy expression.
Henry Neville expanded on this with his book about movement and facial gestures, unlike Strindberg (preface to miss julie) he said makeup to be in moderation of the face
The Method (Lee Strasberg)
(theatre histories glossary + p. 458, 460, 602)
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Motivators
Bella Merlin- ‘’Summary and Analysis of an Actor prepares’’: Stanislavsky, naturalism, given circumstances, magic if, objective and super-objective, inner and outer action, psychotechnique, motivators, emotion/affective memory,
different psychotechniques are the magic if, motivators, emotion/affective memory, and the (super) objective, given circumstances
Biomechanics
(theatre histories glossary + p. 419-23, 594) see also meyerhold
- The artistic synthesis of retrospectivism and futurism achieved by russion director meyerhold in the 1920’s it incorporated his acting experiments with biomechanics
Meyerhold was critical on the practice of using film projections in theatre and emphasised the primacy of the actor, i.e. biomechanics (week roaring 20's)
Aesthetic Fright (week6 artaud and beyond)
The theatre and cruelty, first manifesto: theatre of cruelty, spectator, cinema, metaphysical
aesthetics of fright(p.2),
New Objectivity (week roaring 20s brecht and piscator)
• Caricaturist Georg Grosz and the painter Otto Dix
• Everyday themes - banal and ugly reality
• Unsentimental way of viewing the world • Visual sharpness and emphasis on outlines
• Social critique, political satire, and anti-war sentiment
- Realism to uncover objective truth
iza: rejecting expressionism and represented reality in an unsentimental way
-realism ti undercover objective truth
- visual sharpness and emphasize on outline
- social critique, political satire and anti-war sentiment
Total theatre
Grotowski- Towards a poor theatre: poor theatre, holy actor, spectator, total theatre
combination of circus arena, amphitheatre and pictures from stage
- grophius
text growtowski
-the poor theatre(&performance as an act of transgression) does something that film cannot. Film is good in technical functions, the rich theatre counters with ‘’total theatre’’.
Presence vs Representation (week 9)
There’s more in: Lavery, Carl and Clare Finburgh. ‘Introduction: Greening the Absurd’. In Rethinking the Theatre of the Absurd
The emphasis on presence in neo-avant-garde theatre and performance strives to bridge the gap between the materiality and semioticity. • Materiality of actions takes precedence over semiotic aesthetics. • Performance as a non-representational act which transforms everyone present into a participant.
‘Found’ Space
Schechner- 6 axioms for environmental theatre; environmental theatre, found space, spectator, Grotowski
text schecner axioms
*Environment
-transformed space(created) vs found space(negotiating with environment)
-Bauhaus theatre & Kiesler not really interested in scenery, traditional theatre learned Of new audience-performer relationship & rejecting conventional space
—>It is possible to combine principles of found and transformed space.
Empathy
Brecht- A short organum for the theatre: Anti-Aristotle, anti-illusionism, epic theatre, empathy, v-effekt
Brecht- on Chinese acting; anti-illusionism, epic vs dramatic theatre, empathy,
against empathy: brecht - via alienation
-the old works are grasped by a new method -empathy- whist they rely on little. Thus the greater part of our enjoyment is drawn from other sources than those which our predecessors were able to exploit so fully.
In support of empathy (between spectator and character) augusto boal, against Aristotelian tragedy. Theatre should be a rehearsal for the revolution.
Coercive System of Tragedy
Spect-actors and the Incursion of the Real: From Augusto Boal to Participatory Theatre
Spect-actor
Spect-actors and the Incursion of the Real: From Augusto Boal to Participatory Theatre
boal
Spect-actor – This term describes those engaged in Forum theatre. It refers to the dual role of those involved in the process as both spectator and actor, as they both observe and create dramatic meaning and action in any performance.
In Participatory Theatre, the audience becomes active, such that as “spect-actors” they explore, show, analyse and transform the reality in which they are living.
Spect-Actor takes the role of the character and enacts a solution to the problem
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