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| traditional story passed on from generations to the next generation (a widely help but false belief of an idea) |
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| physicalization (no words) |
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a series of practices (religious) performed over and over.
example: Hopi & Kachina - spirit gods bringing good harvest |
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| Ritual Theatre Performance |
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| emphasis: the event, firmly rooted in religion, performed by actors |
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| emphasis: story with a conflict |
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| hymn that is sung at alter of Dionysus |
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| where the City Dionysian festival takes place, seats 17,000 people, limestone seats |
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| wagon used to bring the "dead" actors on stage to show that they had died in between scenes |
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| a group of up to 15 people singing making it sound as one voice |
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| what some actors and actresses wore to give their character a different identity |
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| open area on stage, hearing through the 4th wall, audience on 1 side |
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| Stage in audience (3 sides) |
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| Arena or Theatre in the Round |
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| stage in the middle (audience on all 4 sides) |
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| (found space) pretty much theatre anywhere you feel like acting |
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| platform coming out from stage |
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| pieces of wood above the stage holding things in place |
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| platforms on the sides of the stage |
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| usually in front of stage, sometimes on the side of stage |
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| audience in the middle (best view of stage) |
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| seating on the sides of the walls facing the stage - usually for royalty (so that they can be seen) |
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| a group of instrumentalist providing music and setting the scene of the play |
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| ancient Greek theatre - a hut for changing in behind the stage or for storing props and masks |
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| passages below the stage that allow actors and actresses to travel under during a performance |
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| a vehicle sometimes driven on stage |
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| plays about the lives of saints |
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Shakespeare's Theatre in London, it has burnt down twice and has been rebuilt
Performances began at 2:00 p.m. (outdoors - sun was good at 2:00 p.m.) |
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used to advertise the plays that were being performed
White - drama
Black - tragedy
Red - comedy |
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| where tickets are sold for the performances |
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| Groundlings & Gallery Patrons |
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| people that stand up and watch the play at the Globe (sometimes they get used during the performance and sometimes props are used on the groundlings) |
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| no scenery - told what everything looked like |
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| (not historically accurate) were usually more expensive because the rich donated all of their old clothing to the theatre |
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| trap doors, hooks & cranes |
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| wanted to purify the church by abstaining from amusements and sensual pleasures |
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| Permanent Theatre Building |
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- indoor (the Blackfriars)
- catered to the wealthy
- outdoor (the Rose, the Globe)
- Permitted all members of society to attend
- The Theatre (1576) |
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| Environment surrounding the theatre |
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| bear baiting, prostitution and gambling |
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| Theatre and Cultural Diversity |
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| Heavily weighted towards whites and there were always more male roles |
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| values, standards, and patterns of behavior of a particular group of people |
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| fads and fashions dominate mainstream media for limited time |
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| process by which we learn our culture |
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| giving voice to all members of society so all people can learn to coexist |
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| shortcuts in thinking that attribute a generalized identity to people not like you |
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| seeing the world from our own point of view |
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| Contemporary Theatre and Performance Art |
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Characteristics:
- mixes theatre, visual arts, music, dance, gesture and ritual
- rejects traditional elements of drama ex. plot, dialogue, characters and setting |
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| Today emphasizes individual performances |
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Bill Irwin (Largely NY)
John Leguizamo (Sexaholic)
Eve Ensler (Vagina Monologues) |
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| Basic Types of Theatre of the People |
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- Theatre of Identity
- Theatre of Protest
- Cross-cultural Theatre |
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- Promotes a particular people's awareness of themselves and their experiences, radiations, and culture
- giving voice to groups' society ignores |
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| (1821) - first play written by an African American play writer James Brown |
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| (1923) - first non-musical by and African American named Willis Richardson that was on Broadway |
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| (1920s- 1930s) an early manifest that centered on black consciousness in the United States |
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| Lorraine Hansberry - (1959) first play written by an African American woman that was produced on Broadway |
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today's prominent African American Pulitzer Prize winning play write
"Joe Turner's Come and Gone" |
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- Oldest form of theatre in India
- Sanskrit plays combine: natural with supernatural, comic and serious themes, love stories with political intrigue
- Performance - by men
- Set - minimal
- Costumes and make-up - elaborate
- Up to 6 hours long
- Musical accompaniment |
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- traces back to Sanskrit dramas
- presents violence and death onstage through dance and performance
- stories are usually about good versus evil |
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- 1850s - first half of 20th century in California the Asians were strictly stereotyped
- leads were played by whites in make-up
- not until the 1960s did Asian theatre begin popping up in California |
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(b, 1957) - first Asian American play write to achieve national reputation
M. Butterfly |
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| China - Peking Opera (now Beijing Opera) |
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- performers dramatic makeup or masks
- combines music, dance, acting and acrobatics
- highly stylized staging techniques (minimal furniture on stage - table and chairs symbolized a mountains, court, etc.)
- audience seated at tables eating and drinking
- 2 types of plays
- Civil
- Military |
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| Traditional Japanese Theatre |
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- no or noh - means talent
- production rigidly traditional
- short dramas for and about upper class
- combines music, dance, lyrics, mime and poetry
- all performers were males
- elegant costumes, beautiful masks and highly symbolic setting |
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| 5 subjects of Japanese Theatre |
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- The gods
- Heroic deeds - tales of Samirih
- Women - Wig Plays
- Insanity
- Famous legends |
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10 hours long 7 days of the week
- ka = song
- bu = dance
- ki = skill or play
- elaborate scenery, staging and special effects
- nonrealistic style of acting
- combines music, dance and dramatic scenes
- plays are long and episodic |
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men who play female roles
all of the performers are male |
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| a series of loosely connected dramatic scenes, performed separately |
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- puppets 2/3 human size operated by men dressed in black
- musicians and chanter tells story and creates all of the voices |
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- attacks status quo
- fights for political and social justice |
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El Teatro Campesino
(The Farm Workers Theatre) |
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- protested social injustice
- players often workers on strike
- performed on back of trucks
- founded in 1965 by Luis Valdez |
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-born 1940
- most well known play about the 1940s riots in Los Angels
- Zoot Suit (1978) - first Chianco play on Broadway
- first Mexican American to direct on Broadway |
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| - borrows ideas and performance techniques from diverse, complex cultures and places side by side (Black Elk Speaks) |
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| 3 Factors of Theatre Artists |
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Manipulate Audience
1. Collective Mind (Gustave Le Bon)/ Group
- emotion overcomes intellect
- laughter become infectious
- papering the house
Dynamics - how people function in a group
2. Willing Suspension of Disbelief (Samuel Taylor Coleridge - 18th C.)
- accept world of the play over that of our everyday reality
3. Aesthetic Distance
- audience's ability to remove themselves so they contemplate and evaluate performance and play |
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- self consciously theatrical
- often acknowledges audience
- may invite them to participate
ex. The Rocky Horror Picture Show (1975) |
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- based on the "4th wall"
- actors never acknowledge audience
ex. A Doll's House |
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| active participant with actors view as shared experience, thrive on the risk factor of the "living theatre" |
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| are passive recipients of medium, medium as a product prefer to know in advance what they are getting for their time and money |
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"descriptive criticism" - Aristotle
- works for TV, newspapers, magazine, limited time/space
- brief plot description and might offer opinion if you should see it or not
- may or may not have theatre knowledge |
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Horace
- puts play into greater context |
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| altering, restricting, or suppressing info, images, or words |
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Licensing Act of 1737
(England) |
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| all plays had to be reviewed and censored or approved by Lord Chamberlin |
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| remove vulgar, obscene or objectionable material before publication |
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| Comstock Act of 1873 - 1958 |
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| censor mail in the United States |
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| cannot state publicly or publish alleged facts that are false and can harm reputation of another |
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- cannot yell fire in crowded theatre
- war of the world's - Orson Wells |
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| Sedition and Incitement to Crime |
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| no overthrow the government speeches |
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| Separation of Church and State |
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| respect all religion or endorse any religion |
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| not protected. everyone's view of what is obscene is different. |
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| cannot change play without play writers permission |
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| once play writer has been dead for 70 years the play can then become public |
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| writers who forfeit the words the author for film or TV |
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| WGA (Writers Guild of America) |
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| Tv and Scene writer union |
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DGA ( Dramatic Guild of America) - theatre play writer
- scripts rented and royalties received |
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| how does the dialogue reveal characters to set environments |
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| how do the visuals auditory elements contribute to the performance |
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| how do the musical elements move the plot along |
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short description to help interpret alive
- theme, action and conflict |
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| careful ideas that generate the plays life |
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| come characters need to listen while others are talking |
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| full account of people and events often studied chronologically |
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| select scenes from a story arranged to present on stage |
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| category with particular form, style or subject matter |
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| follows specific blue print |
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| grows organically from characters |
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