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27 Cards in this Set
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Weimar Classicism |
18th century Germany Combining Romanticism & Classicism & Enlightenment Not focusing on recreating ordinary life, but rather on transforming the ordinary Educating audiences tastes based on Enlightenment principles Goethe -- Faust -- Theater should reveal ideal truths Schiller -- Mary Suart -- Created new forms: the melodrama & bourgeois tragedy. Followed strict Neoclassical rules |
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Strum and Drang |
Late 18th century Germany Sub-category of Romanticism & reaction against rationalism, neoclassicism & absolutism Wide-ranging adventures of independent-minded heroes Rousing action & high emotionalism Protagonist = angry young man in revolt Shocking subject material, violence, rage Whatis said is more important than how it is said, and that true art comes from theindividual genius, unconstrained by rules of propriety, decorum or beauty. Trueart is the free public expression of deeply-held convictions, feelings, andanxieties and only these will set men and women free. Goethe -- Geotz Von Berlichingen -- Goetz dies a prisoner with "freedom" on his lips Lenz -- The Soldiers -- proposes state-sponsored prostitution to protect respectable young women from soldiers friedrich maxmilian klinger -- Strum and Drang (protagonist's name is Wild) |
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Romanticism |
1800-1850 German (S&D & W), English & French Reaction against neoclassicism & rationalism (the reasoned, educated mind is corruptible) Linked with revolutionary and nationalistic aspirations High emotions Imagination over reason Search for ultimate truth (probably doesn't exist on earth, but worth the search) Mood & feeling = the most important Romantic hero S&D and WC ENGLISH ROMANTICISM Couplesheroic and self-defining action with equal parts self-consciousness andself-doubt. Hamlet as the perfect Romantic hero Emotion and feeling overreason Thenatural over the artificial Theorganic overthe mechanical Theuncanny overthe ordinary Theindividual overthe collective Subjectivity overobjectivity Freedom of expression overrestraint and discipline Genius Subjectivity Self-Expression Nature Imagination FRENCH ROMANTICISM Associated Romanticism withliberty, liberalism and republicanism Linked social liberty with thefreedom of the artist from aesthetic rules Praised the genius of “remarkablemen” of the people Disregarded the unitiesof time and place and the conventions of French poetic diction Mixed humorwith seriousness Presentedexciting actions onstage (including violent actions Moral ambiguity Complex hero (noble outlaw) withself-deprecating humor Resiliency of poetic language(freed from the neoclassical strictures of the Alexandrineline) Hugo -- Hernani -- the hernani riots -- the romantics won Schiller -- Maid of Orleans -- Joan of Ar searching for/bringing truth from God. Very emotional monologue about the sensuality of the world. |
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Realism |
1850s-1930s Reaction against Romanticism. Anti idealization & subjectivity Truthful representation of real world based on observation of ever day life Can lead to deeper understanding of the factors that influence society, which can lead to change "Well-made play" plot structure (Aristotelian) Character as most dominant element George Bernard Shaw -- Pygmalion -- Used satire/ridicule Henrik Ibsen -- Doll's House or Hedda Gabler -- Social dramas, frank treatment of controversial subjects (women, bad marriages, infidelity, etc.) |
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Naturalism |
Late 19th century Influenced by (new) scientific method & people like Darwin, Freud & Einstein Showed life "as it is" or "a slice of life" with all of its crude, ugly and sordid aspects Complete objectivity towards situation & characters Background, setting, realistic details and atmosphere are more important than action Avoided climaxes Strindberg -- Miss Julie -- lots of ugliness re: class & sex Tolstoy -- The Power of Darkness -- drama. peasant commits & inspires a number of murders. confesses. |
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Symbolism |
Late 19th century Relies on use of suggestive meanings through images Reaction against realism & naturalism, ugliness & materialism --> seeking beauty Art for art's sake --> doesn't have to have social relevance Spiritual connection, not scientific Chekhov -- Cherry Orchard & later plays -- the symbol of the orchard itself Strindberg -- Dream Play -- 40 characters. Some as symbols |
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Soviet Modernism |
Early 20th century Conveyer of essential meaning and model for living Makes known what has been unknown Tool of revolutionary change --> shaping utopian futures Shostakovich -- The Nose -- |
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Constructivism |
Early 20th century Harmony free from subjective lyrical elements Not reproducing things, but rather things on their own Organized beauty reflecting the emotions aroused by mathematics and technology Biomechanics (Meyerhold, an actor, theorist, theater director and owner) -- super physical actor training. Actor's body as instrument). Value physicality and motion over language Mayakovsky -- The Bedbug Gogol -- The Inspector General (Meyerhold made that happen) |
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Futurism |
Early 20th century Challenging and remaking all conventions Pushing boundaries in what is considered art Expanding the materials of theater Looking at anti-logical structures. Absurdities, grotesque personations, obscenities, idiosyncrasies, dreams Questioning the purpose and function of art in society Unsettle assumptions New status of artist as other and outsider Marinetti -- first futurist manifesto -- love of danger and energy. courage. audacity. revolt. aggression. feverish sleeplessness. beauty of speed (machine-gun fire). glorify war (the cure for the world). militarism. anarchists. beautiful ideas which kill. contempt for woman. pro-disgust variety theater great noise and energy immediate and concrete actions sound poetry, new music, declaiming of manifestos brief and abstract anti-representational skits anti-representational anti-psychological anti-rational anti-intellectual anti-historical anti-middle class anti-woman Cangiullo -- Lights! and Detonation, Synthesis of All Modern Theatre Mussolini -- a lot of them became fascists in Italy |
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Dada |
Early 20th century "The true dadas are against Dada" Abstract non-representational performance Experimental Explored gaps between chance and structure, noise and music, gesture and dance, rational and irrational Calculated madness could restore sanity to the world Anti-psychological --> logic = ego dada = egoless Release of primitive urges and instincts Hugo Ball -- The Nose of Michelangelo Tzara -- The Gas Heart -- started a theater riot. Surrealism split off |
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Surrealism |
Early 20th century Breton founded Surrealism. Branch off of Dada Freedom/encouragement of dreaming The expression of thought with the absence of control/reason Apollinaire -- The Breasts of Tiresias Lorca -- The Public Stein -- Doctor Faustus Lights the Lights |
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Expressionism |
Early 20th century Reality is distorted -- communicating inner feelings -- super subjective Dramatization of suffering & spiritual awakening Struggle against bourgeois values & established authority Rice -- The Adding Machine -- depersonalization and mechanization of modern America Toller -- Man and the Masses -- female protagonist goes from optimism to despair |
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Epic Theater |
Early 20th century Political, instigator for social change, theater as teacher Heightened theatrical effects Episodic -- great actions & characters moving across space and time Brecht -- Mother Courage and her Children -- Brecht was upset when people were crying during MCAHC because he wanted the audience to be emotionally detached and intellectually engaged. Also the theatrical scene titles. Piscator -- War and Peace (stage adaptation of Tolstoy's novel) -- totally epic in every way. |
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Theater of Cruelty |
Mid 20th century Theater as means to psychological and spiritual change Value physicality over language Unlock the dark recesses of the human psyche I think this is another reaction to WWII --> the violence and kind of weaponry that was being used Artuad -- French, coming from the surrealist movement. He did an adaptation of Les Censi, but his manifesto is called The Theater and its Double |
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Socialist Realism |
Early 20th century Started in Soviet Union Glorified depiction of communist values through realistic imagery Limit popular culture to a specific, highly regulated faction of creative expression that promoted Soviet ideals Optimistic present and future Elevated common worker |
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Poetic Realism |
Psychologically-based Strove to depict the universal in the particular by constructing and presenting highly individualized types and figures on stage that resonated beyond the particular scenarios in which they were displayed. Dramatically cogent and psychologically complex Focused on conflicts of contemporary individuals in search of personal fulfillment through moral actions Social types exhibiting specific social behaviors -- what is true Elia Kazan -- Directed Brando and Tandy in Streetcar. From the Group Theater Williams -- Streetcar Named Desire |
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Shingeki (new theater) |
1900s-1960s Dissatisfied with and critical of kabuki Modernizing Japanese culture based on western principles and practices. Ibsen and Shakespeare as model Wanted sober, serious, intelligent and healthy theater. Enlighten society through aesthetic experiences Shoyo -- The Lady Maki and Persecution Kaoru |
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Huaju (world drama) |
Early- mid 20th century Cultural leaderChen Duxiuinsisted that a new drama was “the only door” that would lead to social reformin China. A new drama (based on the model of Ibsen) would create admiration forand understanding of this new moralityin ways that were both pleasurable and instructive, promoting individualism, human rightsand responsibilities, and the liberation of women. Cao Yu -- Thunderstorm and Sunrise |
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Independent Theater Movement |
?? The Independent Theatre was a dramatic society founded in 1930 by Doris Fitton, and was also the name given to the building it occupied from 1938. It was named for London's Independent Theatre Society and was one of several amateur drama groups of high standard which sprang up in the 1930s. |
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Little Theater Movement |
Early 20th century Local amateurs began offering plays in small venues for local audiences Noncommercial plays from Europe by big writers (Like community theater) Also produced aspiring plays MacKaye -- The Community Drama -- Constructive leisure as cornerstone of American cultural life. Wanted theater to be made public with active community involvement rather than private |
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Theater of the Absurd |
Mid-late 20th century Dramatized the absurdity of the human condition World without meaning or are we puppets? Relationship with Existentialism/Camus Reaction to WWII Often cyclical plots Beckett -- Waiting for Godot -- Obviously Ionesco -- The Bald Soprano -- Repetition of lines... |
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American Regional Theater Movement |
Post-war move to decentralize American Theater Professional standards and professional busines practices Expand opportunities to attend and support locally-produced professional productions that valued cultural enrichment over financial gains Address modern American concerns and American cultural legacies Break the stranglehold on professional theater enjoyed by commercial producers Encourage local support for professional theater as a civil and cultural value Spark a renaissance of American culture by providing stages for new America plays Subscription based Funded by individual donations and corporate sponsorship Permanent ensemble of actors with wide repertory Art as goal, not financial success Margo Jones -- wanted to give playwrights a place to grow away from commercial pressures. Into theater-in-the-round Zelda Fichandler -- founder of Arena Stage in DC Subsidized Theater Shepard, Albee, Wilson... |
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Black Arts Movement |
The 60's Political in content, activist roots Radically opposed to any concept of the artist that alienates him from his community Art that speaks directly to the needs and aspirations of Black America Radical reordering of the western cultural aesthetic Speak directly to those most affected by social inequities and racist attitudes Black Power speech -- Stokely Black people should define the world in their own terms Ties to community organizations and issues The world isn't ready for change, but it must change anyway Black Americans should try to not be confined to the white aesthetic, but should try to find their own way Amari Baraka -- Dutchman and The Slave August Wilson -- The Century Cycle |
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"Angry Young Men" |
Look Back in Anger by John Osborn. British play. Attack upon class distinctions and upon the complacency and inertia of all classes Jimmy Porter is the protagonist. Denounces a long list of moral, social and political betrayals with no positive solution. Jimmy became symbol for "angry young men" Osborn wrote another play The Entertainer -- there generations of falling apart musical hall performers. Inspired by Brecht |
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Theater of the Oppressed |
??? |
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Postmodern/Postdramatic |
Late 20th century True and authentic self lies hidden beneath the surface appearances of daily life and can be accessed through representation Collapse of boundaries between races, genders, classes, conventions Metanarratives -- totalizing, comprehensive account based on universal truths Horizontal simultaneity -- no hierarchy assumed Critiquing a lot Pirandello Muller -- Hamletmachine --> confronting the whole history of shakespeare's play and it's relationship to western culture Suzan-Lori Parks -- Topdog/Underdog --> interested in truths of the African-American experience |
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Post-colonial |
Transculturation -- cultural hybridity. past identities coming together to form new ones Colonization of India -- Indian in color and blood, but western in culture. Colonizers started building western theaters in a culture where theater had been in a room or outdoors. Rasa in the English fashion. Fusion. New forms reflective of contemporary Indian reality. Colonization in the Caribbean Colonization in Nigeria: Soyinka -- Death and the King's Horseman - Yoruba tradition. Horseman has to commit ritual suicide when King dies, but the English colonists called this practice into question, making it illegal. Throws off order of universe until the horseman's son comes and commits suicide to restore the family's honor. Lots of language about embracing the future |
