Final exam Flashcards
Trifles, 1916
Susan Glaspell
Long Day’s Journey Into Night, 1942/1956
Eugene O’Neill
A Raisin in the Sun, 1959
Lorraine Hansberry
Clybourne Park, 2010
Bruce Norris
The Exception and the Rule, 1930
Bertolt Brecht
Polaroid Stories, 1997
Naomi Iizuka
Fires in the Mirror, 1992
Anna Deveare Smith
Realism
Bringing the realities of life to the dramatic form; personal, social, ordinary
Naturalism
Everything is predetermined
Well-made Play
all actions contribute to the climax and the plot and everything is tied up at the end
Reversal of fortune followed by pity and fear. The McGuffin (Hitchcock term).
Major Forms of Theater
Melodrama, Comic Opera, Spectacle
Glaspell (1876-1948)
Pronounced Players (1915-1923)
Civic Repertory Theater (1930’s)
Federal Theater Project (WPA-1930’s)
O’Neill (1888-1953)
Theater Guild (1918-1950’s)
Arena Theater
Circular theater with vomitorium.
Black Box/Flexible Theater
No set plan; do whatever
Environmental Theater
Moving, room to room
Thrust Stage
Bellows out
End Stage
No proscenium
Proscenium Theater
Has an arch that serves as the 4th wall
Hansberry (1930-1965)
Assimilationist, Unity, Pride, Masculinity and Femininity (agency), futurity, children, fatherhood.
Labor: home change, cooking, etc…
Brecht (1898-1956)
Learning Play
Thinking about theater: form -> deliverance, context -> what it is
Iizuka (1965-)
like Ovid’s Metamorphosis
Political Theater
Theatre that comments on political issues, political action or protest that has a theatrical quality to it, and any action by politicians that is intended to make a point rather than accomplish something substantive.
Learning/Teaching Play
A radical and experimental form of modernist theatre developed by Bertolt Brecht and his collaborators from the 1920s to the late 1930s. The Lehrstücke stem from Brecht’s Epic Theatre techniques but as a core principle explore the possibilities of learning through acting, playing roles, adopting postures and attitudes etc. and hence no longer divide between actors and audience.