Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
24 Cards in this Set
- Front
- Back
- 3rd side (hint)
|
What is the relationship between the Deadly Theater and the commercial theater? |
The Deadly Theater means bad theater, and since this is the theater we see most often, it is taken for granted. It is most closely tied to the commercial theater. |
Bad theater |
|
|
What does it mean to call the theater a "whore"? |
To call the theater a "whore" suggests impurity in its art, and today, that the Institution has sold out. As a whole, it no longer elevates or instructs, but it hardly even entertains. |
Commercialism |
|
|
The Deadly Spectator |
One who, for special reasons, enjoys a lack of intensity and even entertainment - the scholar who leaves a routine classic pleased nothing has distracted him from his pet theories and favorite lines. |
False scholarship |
|
|
What is the danger of the Deadly Spectator? |
He lends the weight of his authority to dullness - in his heart he sincerely wants a theater nobler than life, but confuses a sort of intellectual satisfaction with the true experience he craves. |
Authority & Confusion |
|
|
Why does the Deadly Theater take to Shakespeare? |
Secretly we find it excruciatingly boring, but feel we have "done our duty" by going to the theater and that bored one becomes its own reward. |
Self-entitlement |
|
|
What is the "curious phenomenon" about the Deadly Theater? |
We expect the so-called hit to be livelier, faster, brighter than the flop - but sometimes a play succeeds because of its dullness. |
|
|
|
Who gets cheated when elevating something bad into a success? |
Only those who are doing the elevating. |
|
|
|
What enables the theater to survive? |
Force and Quality |
|
|
|
The Deadly Trap |
To divide the eternal Truths from the superficial variations; this is a subtle form of snobbery and is fatal. |
|
|
|
What is unique about the vehicle of drama? |
It is flesh and blood and the vehicle and message cannot be separated; the moment the actor opens his mouth and speaks, he is entering the fluctuating territory of manifestation and existence. |
|
|
|
_______ is the Deadly Theater carried to absurdity. |
Grand Opera; Opera is a nightmare of vast feuds over tiny details. |
|
|
|
What is the most deadly element in New York? |
Economics - a play that rehearses for three weeks for economical reasons is crippled at the outset. |
|
|
|
What leads the young actor to an angry and impatient search for "truth"? |
Imperial gestures and royal values are fast disappearing from everyday life, so each new generation finds the grand manner more and more hollow; meaningless. |
|
|
|
What is the Deadly challenge of an actor approaching a classic text? |
He is forced into an uneasy compromise : his acting is weak and because ham is strong, it is remembered with a certain nostalgia. |
|
|
|
What makes mirror exercises Deadly? |
Meaning can be checked in each man's own present experience, but to imitate the externals of acting only perpetuates manner - a manner hard to relate to anything at all. |
|
|
|
How does a word begin? |
As an impulse; the word is an end product of an impulse stimulated by attitude and behavior which dictate the need for expression. |
|
|
|
"The best dramatists explain themselves the least" |
They recognize that the only way to find the true path to speaking a word is through a process that parallels the original creative one. |
|
|
|
What is the most certain road to the Deadly Theater? |
"Style"; To imply the words we apply to classical plays like "romantic, poetic, larger-than-life" means anything at all; To build a performance today to conform to these canons |
Style |
|
|
Recall the example of Goneril from p.14 |
She is a monster, real and complex and compelling |
|
|
|
What is the Deadly Theatre's approach to classics? |
The viewpoint that somewhere, someone had found out and defined how the play should be done; This is the running problem of what we loosely call "style" |
Style |
|
|
What is at the heart of the living theater? |
Theater is always a self-destructive art, and it is always written on the wind. |
|
|
|
What is the pattern of the Deadly Theater in America? |
In powerful waves, a recognition of the deadly, and a strong reaction against it. |
|
|
|
What is the actor's strength? |
His wish to work; it is what enables professionals everywhere to understand each other. |
|
|
|
What is the fluidity of the theater? |
In most of the world, it has no exact place in society, no clear purpose, and it only exists in fragments. |
Place/Purpose/Parts |
