Prod 211 Concordia

Front 1

Carlson,Marvin

Back 1

Thesis: Through placement, architecture stagestructure, seating arrangement etc. theater buildings of a society reflect itssocial circumstances, values and beliefs.

Front 2

Howard,Pamela

Back 2

Thesis: Space needs to be conquered; itcannot reach its full potential without action within it.Scenography: creating performancespaces through the realization of an image in 3-dimensional space in whicharchitecture is an integral part of that image.Found space: any space, including atheater, being re-used and re-imagined for theater.

Front 3

Fuchs,Elinor

Back 3

Thesis: a play is like a small planetin which all that exists is its language so everything within it, including thelanguage used by its inhabitants, must be interpreted by the plays own laws ofreality.Social world: context, structures,language, relationships, characteristics of society.Changes: in the play, the charactersand in you as its audience.

Front 4

Chan, Paul

Back 4

Thesis: Art can fight our dilemma of inaction vs. inaction by exposing what is truly worthless and truly valuable to undermine the seemingly inevitable order of the world. Site Specific performance connects the audience with the piece and transforms the piece.

“Community engaged theatre”RenewalShadow: A largely neglected presence in our daily life OR what shouldbe left behind by an art piece.Waiting: The experience of overlooked people. A time in suspense.Waiting for someone to intervene, for change, for hope. Both experienced by theaudience and actors in this production play and in life.�&�Q�(�

Front 5

Turner, Cathy

Back 5

Thesis: the notion of potential space in which creativity can exist and meaning develops between spectator, performer and location. Potential space allows for an alternative vocabulary to that of fragmentation for when there are no clear distinctions between ghost, host and witness. This vocabulary relates to transitions, the child-mother relationship and creativity.- Frameworks for Illusion: stories allow us to connect culturally and personally. From this“meaning” emerges.Key Terms:- Host/Ghost- Theatre/Archeology- Framework of Illusion- Transitional Process: Play between realities (used in analogy of a child transitioning into anadult reality/age of knowing)Archeology: a material practice set in the present which works with traces of the past.Space: can be fragmented and layered, can be potential and seamless, is always in progress, always surprising, its meaning is never complete

Front 6

Warner, Deborah

Back 6

Thesis: theatrical space is about thespectator-performer relationship in a space that is full of layers of meanings,making the spectator placeless.- Empty space/ PoeticSpace- Theatre in“Interdisciplinary landscapes”- “Creating theatre out ofpieces not necessarily written for theatre”- Meditation andPerformance (their co-relation)Key Terms:- Poetic Space- Psychogeographical -spaces which associate with past feelings, emotions, memories- Interdisciplinary“Personal response is to the…influence of architecture, film, performance,andtheatre art.” (104Active-spectatorship: on one of Warner’sfamous walks, for instance, active-spectatorship is both performative and realas spectators create their own poetics, experiencing Warner’s directedspectacles at cites and the real life city spaces in between.

Text: the meaning of text is questioned by Warner’s use of buildings as text and allowing spectators to create their own internal text (sometimes verbalized in reviews of Warner’s work that are far more poetic than the typical theater critics’).

Front 7

Brecht,Bertolt

Back 7

Thesis: Epic theater is defined by allthe same features as a street demonstration; performance does not over shadowmessage, flaws in representation are pointed out, admits it is a retelling notthe actual event, does not try to create an experience or elicit emotion,portrays only what aids its purpose (not for the mastery of its art),characters are defined by their observed actions, alienation is used to drawattention to the fact it is only a demonstration. Through these means an epictheater piece can best achieve socially practically significance.A-effect: alienation affect. That isunrealistic emphasis to draw attention to key points and remind audience thatit is only a theater piece, not the actual event.

Front 8

Brook,Peter

Back 8

Thesis: Where the holy yearns for the invisiblethrough its visible incarnations, the rough theater is a dynamic stab at thecentral ideal, that is, moving beyond examinations of individuals toexaminations of society, rejecting illusion by highlighting perspective andconvention, forcing its audience to take stock. We need both these theaters tobalance one another and work free of convention.- Most vivid experiences come from non-traditional sites(from outside of theatres)- Alienation (Brecht): shock to bring our reason intotheatre piece- Happening: shock to smash through barriers we set up- Actors must be as involved in the “outside” world asthey are with the inside.-This reading strongly connects withideas within Turner’s. (Transitional Process)Popular: popular theater always has a roughness to it,some flaw, but the energy in popular theater’s (like the lighthearted delightof Broadway) is the same as the energy of opposition and rebellion.

Front 9

Gómez-Peña, Guillermo

Back 9

Thesis: Mexico City is a city in crisis but art working from their traditions of street events and from the contradictions of urban life is thriving in its streets and institutions, taking society at large as its audience.Streets: public arenas of expressionCarpa: monologues using satire, obscenity, crudity and comedy to engage audiences and often make them participate, questioning the social and political circumstances of the time.

Front 10

Hicks, Emily

Back 10

Thesis: This group of artists of Mexico City and theMexican-American border work in congruence with a postmodern critique but gobeyond this, stretching the definition of art, in their common goal totransform social circumstances.Citizen artists: Socially committed artist whose workaims to have a profound impact outside of the art world.Reconceptualization: bringing art into a new contextor reading a document or poem in a specific context etc. in order to charge itwith new life or social and political significance.