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8 Cards in this Set
- Front
- Back
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DADAISM
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DADAISM:
○ Nothing is sacred ○ Anti-art is the way to think ○ Creative acts are worthless ○ Audience should be infuriated, enraged ○ Audience should be moved beyond rationality to passion. ○ All elements of the past must be destroyed ○ All beliefs have no reason. ○ The moments is all that matters. ○ Spontaneity is the closes anyone can come to creating ○ The more shocking and violent the better. ○ Dadaism does not produce a body of work; it tens to be favored at private entertainments. More of a theatrical event than writing scripts. ○ Largely improvisational and spontaneous |
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DIDACTISM
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○ Theater should make you think and act.
○ Actors should present characters instead of inhabiting them. ○ Audience should always remain aware that they are watching a performance and never lose themselves in the lives of the characters ○ Theatrical illusion is to be destroyed ○ Action must be frequently interrupted, so the audience can remain emotionally disengaged and able to view the work intelligently. ○ Alienation ○ Drama should deal with human beings caught in the midst of social or political conflict. ○ The best theater spreads social ideology ○ Naturalism is rejected ○ Gestus ○ The stage is meant to narrate, demand decisions, communicate knowledge, present arguments, to appeal to our reason. ○ Image projection/proscenium space with black screen ○ Audiences are frequently addressed directly ○ Goal is to make the idea crystal clear rather than enforcing emotional involvement. ○ Training in mime, clowning and oriental acting techniques is helpful. ○ |
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FUTURISM
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FUTURISM
§ Actor as machine; totally integrated theater § Reject the past, glorify progress § Anticipate a great industrial future § Give formal expression to the energy and movement the new machinery has provided § Strong broad emotions § Technology must rescue theater from its deadly museumlike atmosphere and literary, logical bias. § Machines and wars can be a source of great beauty § War us the world's hygiene, cleaning out unfortunate vestiges of the past. § Barriers between arts, actors and audience need to be smashed vestige noun a still existing small part or amount of something larger, stronger or more important that existed in the past but does not exist now These old buildings are the last vestiges of a colonial past. There is now no vestige of hope that the missing children will be found alive. § Multimedia § High-tech wonders § Multiple focuses § Simultaneous action § Costume: straight line, metallic surfaces, loose fit, basically |
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SURREALISM
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spontaneous creation without interference from reason
SURREALISM ○ Insanity is often true sanity ○ Freed from the need for reason, morals, or arts (aesthetics) ○ Fully capable of creation ○ Once your logic and ego are neutralized, truth has a better chance to surface. ○ Freedom to manipulate appearances (plasticity) ○ Freedom to allow the subjective mind to explore (musicality) ○ Unreal can become real ○ True theater has the power to disturb viewers to the depths of their being. § A dream world and a realistic world are often both explore for contrast. § High level of distortion, optical illusion, objects in sizes, and unexpected juxtapositions. juxtapose verb to put things which are not similar next to each other The exhibition juxtaposes Picasso's early drawings with some of his later works. juxtaposition noun the juxtaposition of two very different cultures § A strong sense of lyrical ritual emerges § Dialogue favors poetic imagery |
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EXPRESSIONISM
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life seen through a singe set of subjective emotions-a style of art, music or writing, found especially in the 1900s, which expresses people's states of mind
EXPRESSIONISM ○ Theater that is forceful, urgent, emotionally charged ○ Theater needs to capture the inner spiritual struggle each of us goes through to develop into the new person of the future. ○ Creating a character is much less important that presenting a strong argument on stage. ○ Nightmarish, anti-industrial ○ deliberate distortions of reality are perfectly acceptable way to deliver the harsh truth. ○ Theater is the exploration of consciousness through living performance, not literary drama. ○ Dreams are the major source of truth. ○ Mirrors inner psychological realities instead of outer physical appearances. ○ Deformed windows, sloping walls ○ Juxtaposed shadows ○ Geometric images ○ Action: fragmentary, disconnected, puppetlike, or robotlike ○ Some masks and Oriental technique m |
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SYMBOLISM
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Poetic, dreamlike theater seeking the profound or mysterious in life
SYMBOLISM □ Mood and atmosphere are far more important than plot or action. □ No need for characters to have personalities of their own, because they are symbols of the poet's inner life. □ Ambiguity is the key □ What appears on stage is not necessarily a clear symbol the audience will recognize; rather it is symbolic of the author's consciousness. □ Legend, myth, and spirituality come together to produce evocative theater. evocative adjective making you remember or imagine something pleasant □ Move out of objective reality and into subjective and intuitive. □ Suggestion is far more powerful than explicit experience. intuitive adjective based on feelings rather than facts or proof an intuitive approach/judgment Most people have an intuitive sense of right and wrong. • able to know or understand something because of feelings rather than facts or proof |
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IMPRESSIONISM
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a higher world, artificially created and emotionally sublimated
IMPRESSIONISM □ Theater should attempt to capture the moment through feeling mood and atmosphere. □ There is no need from a clear-cut climax, beginning or end. □ Characters may be generally bewildered (confused) and indecisive (not good at making decisions) because that is what we all are. □ Art should not reflect our pervasive (Present or noticeable in every part of a thing or place) passive (not acting to influence or change a situation; allowing other people to be in control )and or/helpless state. □ Movement tends to be tentative (uncertain), half-formed, and incomplete and is often juxtaposed with tableaux. Tableau noun /-loʊ/ [C] (plural tableauxor tableaus) an arrangement of people who do not move or speak, especially on a stage, who represent a view of life, an event, etc. □ Overlapping dialogue, isolated fragments of speech, and heavy use of background sounds may be employ |
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ABSURDISM
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An irrational world where truth is unknown and life is nonsensical (silly or stupid)
ABSURDISM ○ Understanding is impossible ○ Sudden changes of mood and motive are what life is all about. ○ All laws of probability and physics are suspended ○ Man's only freedom is the exercise of his conscious mind. ○ No illusion or light left in the universe; only metaphysical anguish. ○ Life has lost reason, logic and propriety (Correct moral behavior or actions; polite social behaviors) ○ Laughter may emerge from a deep state of pain; laughter is a coping tool, often the only coping tool. ○ It is difficult to communicate with others, so we need to fill time, as if life were spent in a waiting room with which is why we: ○ Play games, joke, dance, sing and indulge silly routines or escapes. ○ Space, linear time and conventional structure are to be abandoned. ○ Plots are often circular (everything that happens has happened before, and the play ends exactly where |
