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Theatre History > Final > Flashcards

Final Flashcards

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1
Q

what started symbolism movement?

A

reaction against realism
example: a doll’s house is good, but symbolism (dolls, birds) is what made it better
focus on depiction of inner life instead of

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2
Q

max reinhardt

A

eclectic director
directed massive spectacles (like a whole city block serving as a performance space)

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3
Q

commercial and popular theatre

A

theatre syndicate
david belasco

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4
Q

Naturalism

A

extreme sect of realism
theatre should present picture of real world without any rearrangement or editing (artist’s presence should not be felt)
focus on lowest parts of society and dark side of human condition

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5
Q

Émile Zola

A

famous naturalist
Thérèse Raquin

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6
Q

Gerhart Hauptmann

A

naturalism
Before Sunrise
The Weavers

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7
Q

Maksim Gorky

A

naturalism
the lower depths

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8
Q

Théâtre Libre

A

“free theatre”
paris 1887, André Antoine
naturalist theatre, since nobody wanted to produce naturalist theatre

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9
Q

Konstantin Stanislavski (stanislavskian technique)

A

actor should believe in everything happening on stage/everything they’re doing
physical movements should look natural
actor should convey inner needs of character
character should be dynamic and continuous
strong sense of ensemble playing with other characters in scene

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10
Q

Adolphe Appia and Edward Gordon Craig

A

modern stage design, antirealistic stage design
simple, symbolic sets meant to work with the actor
craig - free theatre from dependence on realism, literature, and the actor; best performer would be an übermarionette or “super puppet” (completely controlled by the director)

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11
Q

Vsevelod Meyerhold

A

anti Stanislavski, anti-realism
wanted to shatter 4th wall
believed director > star performer
used constructivist sets
emphasized physical movement (commedia, vaudville, mime, biomechanics)

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12
Q

expressionism

A

emphasizes inner experience of characters (via distortion of reality)

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13
Q

futurism

A

1910-WWI
emphasized speed, technology, violence

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14
Q

dada

A

intentionally pointless, supposed to make you upset
precursor to absurdism

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15
Q

the bauhaus

A

german institution
integration of all art forms

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16
Q

Bertolt Brecht

A

anti illusionist
plays were episodic and focused on history or foreign lands
intellectual (as opposed to emotional) manipulation to “wake audience up” (create intellectual climate for social change)
alienation:
- music
- narration
- non-realistic acting

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17
Q

little theatre movement

A

believed in more experimental/dramatic works
opposed hollywood/commercial theatre
influenced by European artists, Moscow art theatre

18
Q

the group theatre

A

1931-1940
communist farm theatre
noncommercial theatre company –> introduced stanislavski’s methods to america
lee strasberg, cheryl crawford, harold clurman

19
Q

Lee Strasburg

A

associated with method acting

20
Q

Stella Adler

A

opposed method acting
more character analysis acting-based methods

21
Q

tyron guthrie

A

renowned british director
started regional theatre movement
opposed to commercialism of theatre

22
Q

postmodernism

A

no “T” truth
pokes holes in or deconstructs stereotypical models

23
Q

Anton Chekhov

A

realistic playwright, modern tragicomedy (bittersweet, comedy adds to the tragedy rather than being separate from it)
Ivanov
The Bear
The marriage proposal
The Sea Gull
uncle vanya
the three sisters
the cherry orchard

24
Q

august strindberg

A

plays were expressionistic, used symbolism, unrealistic shifts in action –> later influence surrealist movement and theatre of the absurd
master olaf
the father
miss julie
to damascus
a dream play
the ghost sonata

25
Q

eclectics

A

group that attempted to bridge gap between realism and antirealism –> each play should define its own form

26
Q

surrealism

A

developed out of dada movement
dramatic recreation of of subconscious workings

27
Q

antonin artaud and theatre of cruelty

A

artaud - originally associated with surrealists, beleived western theatre needed to be completely transformed
beleived classics shoul donly be produced if they were still relevant to contemporary audiences
theatre = sensory experience, asssault of senses
ability to purge human inclination towards agression and violence

28
Q

eva le gallienne

A

british actress and director
pioneer of noncommercial theatre in america, wanted to make serious drama available to american audiences
first actress to play peter pan

29
Q

eugene o’neill

A

First important serious american dramatist
Saw theatre as a high calling/art form, not just as entertainment or a way to make money → paved the way for meaningful drama
Wrote almost every form of drama (realism, expressionism, modern greek tragedy)
The Hairy Ape
Strange Interlude
The Great God Brown
Mourning Becomes Electra
Long Day’s Journey Into Night

30
Q

existentialism

A

little meaning to existence
God doesn’t exist
meaning comes from individual experience

31
Q

absurdism

A

existence, relationships, language = futile or absurd
unstructured plot
unrealistic characters
strange settings

32
Q

Samuel Beckett

A

absurdist playwright
- dullness of routine
- futility of human action
- inability of humans to communicate
waiting for gadot

33
Q

eugène ionesco

A

absurdist playwright
characters = caractictures
ridiculous dramatic action
futility of communication/nonsensical dialogue
the bald soprano

34
Q

harold pinter

A

absurdist playwright
no explanation of plot or anything
the room
the dumbwaiter
the birthday party
a slight ache

35
Q

jerzy growtowski

A

poor theatre - you only need the actor and the audience
his theories have had more influence than his practical work (like artaud or brecht)

36
Q

arthur miller

A

focus on failure, guilt, responsibility for one’s actions
all my sons
the crucible

37
Q

tenessee williams

A

outcasts trapped in hostile environment
glass menagerie
streetcar named desire
cat on a hot tin roof

38
Q

edward albee

A

absurdism
who’s afraid of virginia wolf

39
Q

angry young playwrights

A

group of antiestablishment playwrights in 1950s england
traditional realistic form
look back in anger

40
Q

peter brook

A

producer/director
influenced by artaud
directed marat/sade and midsummer (the trapeze one)

41
Q

josef svoboda

A

kinetics –> setting must be dynamic
complex integrations of performers and projected images

42
Q

living theatre

A

avant garde company in 50s and 60s
poetic drama (i.e. brecht, lorca, stein, etc.)
partially influenced by artaud/theatre of cruelty

Theatre History (2 decks)

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