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| Popular theatre of China that developed in the nineteenth century |
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| Bertolt Brecht's theory that, in his epic theatre, audiences' emotinal involvement should be minimized to increase their intellectual involvement with the political message |
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| Meyerhold's theory that a performer's body should be machinelike and that emotion could be represented externally. |
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| Post World War I design movement in which sets--frequently composed of ramps, platforms and levels--were nonrealistic and were intended to provide greater opportunities for physical action. |
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| movement in art between the world wars, based on presenting the irrational and attacking traditional artistic values |
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| Form of episodic drama associated with Bertolt Brecht and aimed at the intellect rather than emotions. |
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| Movement in Germany at about the time of World War I, characteized by an atempt to dramatie subjective states through distortion; striking, often grotesque images; and lyric, unrealistic dialogue |
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| Art movement, begun in Italy about 1909, which idealized mechanization and machinery |
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| Traditional dance-drama of India |
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| Special form of realism developed in Europe in the late nineteenth century; it was not carefully plotted or constructed but wwas meant to present a "slice of life" |
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| Konstantin Stanislavski's techniques and theories about acting, which promote a naturalistic style stressing (among other things) "inner truth" as opposed to conventional theatricality |
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| Departure from realism that attempted to present dramatically the working of the subconscious |
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| Movement of the late nineteenth century and early twentieth century that sought to express inner truth rather than represent life realistically |
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| Antonin Artaud's visionary concept of a theatre based on magic and ritual, which would liberate deep, violent, and erotic impulses |
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| Exposing the elements of theatre to make the audience members aware that they are watching theatre |
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| Single setting that can represent a variety of locales with the simple addition of properties or scenic elements |
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| Everything onstage is made to resemble observable, everyday life; how people speak, dress and behave; all of it conforms as closely as possible to what we in the audience know is the way people actually are. |
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| Norwegian playwright; founder of modern realistic drama; "hedda gabler" & "a doll's house"' tackled taboo subject; relative morality **later moved towards symbolism |
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| swedish playwright; "the father" & "miss julie" concentrated on individuals at war with themselves and each other; neuroses and sex-battles; no intermission; contradictory features in characters; fragmentary dialogue ***antirealistic drama="A Dream Play and The Ghost Sonata |
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| "The Sea Gull" "Cherry Orchard"; moved away from melodramatic elements; full gallery of characters with overlapping stories; tragicomedy |
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| Most famous naturalistic theorist and playwright; "Therese Raquin" |
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| most influential of the late nineteenth century theatres dedicated to realism |
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| consisted of small American theatres created as alternatives to commercial theatre, often presented experimental, nonrealistic work; controversial or unknown realistic drama; The provincetown playhouse, the neighborhood playhouse, the washington square players |
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| Between world war I and world war II; New York's Broadway district; dedicated to presenting socially relevant drama and to introducing Stanislavski's system in the US: Lee Strsberg, Cheryl Crawford, Harold Clurman; Clifford Odets resident playwright "Awake and Sing" "Golden Boy" |
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| The Federal Theater Project |
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| FDR started it, headed by Hallie Davis; supported theatrical venues throughout the US and revitalized theatre interest outside NYC |
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| has many characters that are closely intertwined; action is subtle and true to life, not dramatic with plot twists; Moscow Art Theatre made it a success |
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| important Irish playwright; "The Plough and the Stars" |
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| American playwright who started with realistic plays, then experimental plays, returned to realism and wrote "The Iceman cometh" and "Long Days' Journey Into Night"; also Lillian Hellman |
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| Spring Awakening: mixed symbolist and grotesque elements with realistic--sometimes controversial--subject matter |
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| Theatre d'Art & Theatre de l'oeuvre; aurelien-marie lugne poe, actress; Ubu the king--was a farcical take on Shakespeare's histories and tragedies |
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| Adolphe Appia and Edward Gordon Craig |
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| antirealist designers; argued against photographic reporduction, employed levels and platforms to design spaces; light was an integral visual element; extremely atmospheric |
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| leading Russian antirealist; theatricalist; auteur director and avant-garde;biomechanics; borrowed elements from circus and the music hall |
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| bridges the gap between realism and antirealism; directors included Max Reinhardt and Yevgeny Vakhtangov |
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| Brecht's alienating technique in which a play is set in the past but it is apparent that he is really concerned with contemporary events paralleling the historic occurences |
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