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-lead by Claude Levi-Strauss
-believes that each society develops along individual lines
-how the mind functions and seeks to answer through an analysis of myth |
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-Functionalist
-believed that each society developed individually and that theatre comes about differently in different societies |
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-Greek performer
-probably lead to the addition of a prologue and lines into the dithyramb |
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-infuses storytelling into Italian theatre
-won Nobel Prize in 1997 for literature
-wrote "Misero Buffo" (a farce) |
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| -first presented at City of Dionysia |
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-Generalist
-leader of the first wave of anthropologists studying the origin of theatre |
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-led by Bronislaw Malinowski
-rejects Frazer's method
-suggest that cultural institutions originate and develop through processes which differ from one society to the next |
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-led by James Frazer
-believe that theatre came from ritual
-sum up that primitive tribes became aware of natural forces and, having no understanding of said forces, came up with mythical and magical reasons
-also believe that these people wanted to control these forces in their favor by doing rituals
-"cultural Darwinism"
-conclude that all cultural institutions go through similar developmental patterns |
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-Frechman
-"father of modern anthropology"
-was a structuralist, rejected cultural Darwinism
-believes each society develops along individual lines
-problems are solved through two methods of thinking (scientific and mythical/magical) |
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| Rituals (and their different purposes) |
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-form of knowledge
different purposes:
1. didactic - serve as means of passing on traditions
2. extended to influence or control events
3. used to glorify (supernatural power, a victory in hunt or war, a hero, etc.)
4. entertain and give pleasure
Joseph Campbell argues that most rituals are related to pleasure, power, and duty |
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| -when the storyline is taken up and the protagonist is affected, often later in the story/play |
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-scene building
-was temporary structure meant for a dressing room but became incorporated into the general Greek theatre |
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-invented by Pratinas
-takes name from chorus which was made up of half-beast, half-human companions of Dionysus
-comic relief
-indecent, boisterous, vigorous |
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-originally in two parts (tragedy and comedy) but only tragedy was found
-ideal drama has unity of action (compact; no subplots), focus on theme/problem, plot is most important
-aim is to arouse catharsis
-exposition, inciting incident, beginning, middle, end. |
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-credited with the introduction of the 3rd actor and fixing the chorus to 15 members
-first to use scene painting
-increased emphasis on individual characters and conflict leading to self-recognition |
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-author of the oldest surviving Greek plays
-introduced the 2nd actor
-plays focused on a single idea or theme
-reduced the chorus from the traditional number of 50 to 12 |
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-author of all the extant comedies of the fifth century
-plays were comedies were commentaries on contemporary society, politics, literature, and above all, the Peloponnesian War |
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-the earliest still extant account of how Greek drama originated comes from "Aristotle's Poetics"
-during the renaissance it was used as prescriptive theory rather than descriptive theory |
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| -also known as the dancing place |
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-entrances into the orchestra at either end of the stage house
-mostly used by chorus during the show but could be used by the audience to enter the theatre |
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-means place
-generalized acting space
-component of the "mansions" |
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-dominant during the early tragedies
-traditionally 50
-reduced to 12 by Aeshcylus
-changed to 15 by Sophocles
-served as the agent of the play (the spectator, the audience, asks questions, gives opinions, etc.) |
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-Greek God of wine and fertility
-according to myth, he was the son of Zeus and Semele |
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-a hymn sung and danced to in honor of Dionysus
-originally consisted of an improvised story (sung by choral leader) and a traditional refrain (sung by chorus)
-later turned into literary composition
-tragedy developed out of the improvisations of the choral leaders |
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-one of the three major Greek playwrights of the 5th century
-not highly appreciated during his lifetime
-introduced subjects that were thought to be unsuited for the stage and he questioned traditional values
-the unifying element in each of his plays is thought
-focused on psychological aspects of his characters and why they did crazy things
-dangerous because of his ideas
-artistically inferior because of his dramatic techniques |
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-Aristotle said comedy came out of the improvisations of the leaders of the phallic songs.
-The Dorians claim to have invented comedy
-in comedy plays there's no chorus
-Dorian influence on comedy was the mime |
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-prologue establishes mood
-choral ode in which the audience is addressed directly divides the play into two parts |
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-a development of events in which the character, by change of destiny "peripetia"
-falls from luck and/or esteem into mystery/isolation
-no realistic elements
-stylized literary language
-tragic hero at the end realizes his shortcomings |
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| Greek Tragedy composition |
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-beginning: situation is defined and explored
1. prologue
2. parados
-middle: plot develops with choral comments to catastrophe
3. episodes or scenes (stories by actors)
4. Odes or kommoi (choral interludes)
end: consequences of catastrophe explored and/or realized
5. exodos (exit chorus) |
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-sedate the audience
-the experience of pity and fear that an audience feels because of identifying with the character on stage |
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-ancient Indian epic drama
-tells of the expulsion of Prince Rama and his wife Sita from their kingdom, they fuck around and the monkey king saves them
-one of the major sources of material for Sanskrit dramatists (along with the Mahabarata) |
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| rasa (8 basic sentiments) |
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-human experience knows eight basic sentiments
1. desire (the erotic)
2. laughter (the comic)
3. rage (anger)
4. fear (terror)
5. sadness (pathos)
6. pride (heroism)
7. aversion (odiousness)
8. wonder (the marvelous)
-every play should have one dominant emotion producing a corresponding sentiment or rasa in the audience
-the aim is to create a final 9th rasa in the spectator: harmony |
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-a great indian epic
-deals with the struggle between two ruling families (contains love, war, and adventure)
-compared to ramayana due to popularity
-both have history, legend, and myth and are major sources of material for Sanskrit dramatists |
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-oldest authoritative text on sanskrit drama
-written by Bahrata Muni but that identity is really unknown
-has over 30 chapters on everything that it takes to put on a production |
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-relates to the staging of liturgical drama plays
-small scenic structures that set the location of the plays
-counter components to plateaus |
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-short comic play regarding every day situations
-simple, uncomplicated characters
-focuses on man's infidelity in different aspects of life and sex
-performed on scaffolds outside
-common dialect |
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-similar to cycle plays
-aim to be educational (teaching the difference between good and evil)
-religious plays that sing praises of the Lord |
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-conceived by Pope Urban IV
-instituted out of a desire to give special emphasis to the redemptive power of the consecrated bread and wine
-also motivated to make the Church more relevant to the ordinary man and his life
-central feature: a procession through town with the consecrated host |
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-religious cycle plays developed outside the Church
-bible episodes as part of longer cycles
-produced by guilds and in the vernacular
-used as competition
-subject matter: God's ordering of existence as revealed in the Bible, the Apocrypha, legends about Biblical figures and saints, writings of the Church fathers, and collections of sermons
-combines stylization with realism
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-tropes (interpolations into an existing text) were first introduced in the 9th century
-motivated by the increasingly complex musical portions of Church services
-started with extended melodies and then grew to have words
-Easter Tropes were written for Easter services
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Angels: Whom seek ye in the tomb, O Christians?
The Three Marys: Jesus of Nazareth, the crucified, O Heavenly beings
Angels: He is not here, he is risen as he foretold. Go and announce that he has risen from the tomb. |
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-show the imperfect man within the social order
-marital infidelity, quarreling, cheating, hypocrisy and other human failings are the typical subject matter
-the clever man, even if a sinner, is usually the hero
-the dupes deserve their fates because they are stupid and/or gullible
-oldest being "The Boy & The Blind Man"
-cynical tones
-typically short
-written in verse
-emphasis on sex and bodily excretions
-majority are from Germany and France |
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-Papacy opposed them
-Churches would perform 1 or 2 a year
-crucifixion is rarely dramatized
-lines chanted rather than spoken
-staging was schematic and not very realistic
-LATER it was moved outside
-Church used as a backdrop
-the liturgical dramas, which were rather short, were strung together and became sometimes days long
-sets and costumes became more elaborate due to guilds
-theatre is a communal effort again woooooo |
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