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44 Cards in this Set
- Front
- Back
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Common Issues
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Questions of moving from the margins to the center
retaining ethnic uniqueness vs. assimilation dealing with racial stereotypes vs. identity rewriting lost history |
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David Henry Hwang
(Asian-American Theatre) |
M. Butterfly (1988)- a French diplomat is involved with a Chinese opera performer, believing he is a woman
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Ping Chong
(Asian-American Theatre) |
grew up in Chinatown in NYC
Kind Ness- elementary school students explore their ethnic identities and the ideas of differences and heritage |
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Spiderwoman Ensemble
(Native American Theatre) |
Winnetou's Snake Oil Show from Wigwam City- explores the idea that all native peoples are alike, and the ethnic stereotypes that white people believe, native people perpetuate
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Luis Valdez
(Latino Theatre) |
Grew up in California as a migrant farm worker
Worked with the San Francisco Mime Troupe Joined United Farm Workers in 1965 was involved in the strike Began El Teatro Campesino to entertain workers Zoot Suit (1976)- based on Sleepy Lagoon murder case, a "pachuco" gang leader is framed for a murder in the 40s as a police attempt to shut down the vibrant Mexican-American culture in Los Angeles La Bamba |
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Guillermo Gomez-Pena
(Latino Theatre) |
Mexican-born performance artist
1991 received a MacArthur fellowship- "Genius grant" 1992- deconstruction of the "discovery" of the Americas Gringostroika- the "evil empire" is the US in relation to Mexico "Border Art" or "reverse anthropology" |
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Lorrain Hansberry (1930-65)
(African American Theatre) |
born in Chicago
father was a real estate broker, won an anti-segregation case before the Illinois Supreme Court received national acclaim "A Raisin in the Sun" (1959) loosely based on this case, a family inherits some money which awakens the dreams of everyone in the family. The main character decides to buy a house so that they can move out of their cramped tenement and they are met with protest with the white neighbors winner of the Drama Desk award that year |
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Amiri Baraka / Le Roi Jones (1934-)
(African American Theatre) |
poet associated with several "beat" poets like Allen Ginsberg and Jack Kerouac
founded Black Arts Repertory Theatre in Harlem (1965) changed his name after Malcolm X's assassination in 1968, adopted African Nationalism and became more committed to his Muslim beliefs. Dutchman (1964) - an encounter between a white woman and a black intellectual on a subway. The white woman provokes the man and eventually kills him. |
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Suzan-Lori Parks (1963-)
(African American Theatre) |
"tone and rhythm convey more than what is actually coming out of the mouth. People aren't as good with words as with gestures."
The Death of the Last Black Man in the Whole Entire World (1990)- a play where stereotypes of African Americans talk back to the viewers The America Play (1994)- addresses the idea that or monolithic approach to history has left some people out, including African Americans. Prototype for Pulitzer Prize winning Top Dog/Underdog |
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Anna Deavere Smith (1950-)
(African American Theatre) |
trained as an actor, doing roles from All My Children to the West Wing
Most famous for developing her own one-woman shows about racial conflict. Fires in The Mirror: Crown Heights, Brooklyn and Other Identities (1992) Twilight: Los Angeles 1992 (1993) interviews witnesses/participants in radically motivated riots attempting to get myriad perspectives on the event, on race, and on identity performs the interviews, sometimes editing out sections, but copying verbatim all the words, pauses, and incidental speech |
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Roselee Goldberg
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Performance Art from Futurism to the Present (1979, 1988)
artists anxious to escape the constrictions of traditional, established fords live art by live artists |
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Some History (Performance Art)
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Black Mountain College, North Carolina (1933)
students from all disciplines came together to put together cross-disciplinary performances |
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John Cage
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The Future of Music
using incidental sound as musical instruments 4'33'' (1952)- a concert where the musicians sat there for 4 minutes 33 seconds. The performance was the incidental noise of the audience. |
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Merce Cunningham
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dancer who felt that pedestrian movements could all be used as part of dance (walking, standing, leaping)
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Alan Kaprow
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"happenings"- things that can't be repeated again
18 Happenings in 6 Parts (1959) audience sent "props" and told they will participate in the art audience was given written instructions on where to sit and when actors moved thru reading from placards three rooms, six simultaneous events in each = 18 "Happenings" |
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Laurie Anderson (violinist)
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performance which uses technology, music, stand-up comedy, animation
work is about the roles of technology and the media in our lives Home of the Brave (1982) |
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August Wilson (1945- )
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Grew up in Pittsburgh
Becomes a playwriting fellow at the Minneapolis Playwright's Center Ma Rainey's Black Bottom (1984) - the dynamics of violence and oppression among black people who are all subjugated by a white employer. Fences (1987) - A man who is bitter after a long prison sentence ends his baseball career. Fences and The Piano Lesson have both won the Pulitzer Prize 1997 public debate with Robert Brustein stir controversy over "color blind" casting |
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Post-Modernism
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relativist- no single truth
diversity- no universal truth division between high culture and low culture is artificial pastiche- art should be funny exhaustion- everything is about "image," there is no depth information age- the "media" generation consumer society |
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NEA-Funds the Arts on all levels since 1965
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the National Endowment for the Arts costs each American about 36 cents/year--less than one hundredth of 1% of the federal budget. Its mission is to foster the excellence, diversity, and vitality of the arts in the US, and to broaden public access to the arts. Since 1965, the NEA has awarded grants.
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The "NEA 4"
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but in 1990, funding was yanked from Holly Hughes, Karen Finley, Tim MIller, and John Fleck for "indecency"
should the NEA dictate the content of projects it funds" do artists have a constitutional right to do whatever they want? what good does this kind of art do for society? |
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Theatre of the Americas
History of Colonization |
nature of Spanish conquest was brutal
Spaniards were religious zealots cultivating and mining required slave labor many natives died of disease and starvation culture of rape created a mixed race colony |
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The Piano Lesson
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Boy Willy lives in the South, but is the least connected to the family
music to connect with each other and a way to endure hardship |
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Classes of People
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Spaniards (born in Spain)
Criollos (Spanish descent born in America) Indios Africans Mestizos Mulattos (Spanish and African) Zambos (indigineous and African) |
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Autos and Pageants
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La Reconquesta de Jerusalen (1538)
often used to Christianize native people, but with syncretic elements |
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Early Performance
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native ritual drama
Spanish, Portuguese, French, and English colonizers tried to wipe out native performance in the Spanish colonies, church autos replaced native drama to attempt to convert native people |
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Franz Fanon (1929-1961)
(The Native Artist) |
The Retched of the Earth (1961)- don't turn towards the past, the corpses use the reality of the present
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Rabinal Achi (warrior)
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is the only surviving native drama
a Guatemalan ritualistic battle between two great powers believed to include song, dance, elaborate, costumes |
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Audra Lorde (1934-1992)
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"The master's tools will never dismantle the master's house"
Sister Outsider (1984) |
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El Gueguence
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hybrid drama from Nicaragua which uses a blend of Spanish and Nahautl to comic effect
an old man is called by the corrupt governor to pay back taxes the old man tricks the governor into agreeing to pay him... |
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Homi K. Bhabha (1949-)
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The Location of Culture (1994)- hybrid identity of the colonized, hybrid culture
(like Caliban used the master's language in order to curse) |
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Stanislavsky Revolutionizes Acting
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The actor must imagine him or herself in the place of the character ("magic if")
The actor must concentrate on the moment. The actor must observe life |
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Imported to the U.S. by Richard Boleslavsky
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who influenced Lee Strasburg, Cheryl Crawford, and Harold Clurman who begin the Group Theatre (Method Acting)
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given circumstance
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things that can't be changed
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character
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he moral, physical and psychological aspects of any given part
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super objective
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the main thing the character wants in the play
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major obstacle
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the main thing that stands in the character's way
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beat
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moments in the play. A beat is delimited by a change in the objective and/or obstacle
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objective
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what the character wants
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obstacle
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what stands in the character's way
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score
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breaking a scene down into its beats and noting objective and obstacle for each
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fourth wall
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the imaginary wall between actor and audience
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cross
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moving from one side of the stage to the other
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counter cross
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moving during the cross of another actor to avoid being on the same side of the stage
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Nancy Uffner's talk:
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Director makes creative decisions, Stage Manager is director's administrative assistant.
Stage Manager is responsible for sequencing of events. |
