Ism's Flashcards

1
Q

Realism

A
  • slanted toward shedding light for social reform
  • hold mirror up to life
  • no restricted subject matter
  • banish stylization
  • kill convention
  • theatre=laboratory
  • playwrights present evidence, you decide what to do
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2
Q

Naturalism

A
  • “slice of life”
  • focus on lower, gritty class and animalistic characters (humans in natural habitat)
  • playwright didn’t want his voice heard
  • reform through permeation
  • ensemble focus
  • Emile Zola, Andre Antoine (producer)
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3
Q

Symbolism

A

1880’s-1910

  • start in france
  • Mysticism, spirituality
  • almost no plot (not well made play)
  • life can’t be understood literally or directly
  • poetry, music, metaphor (appeal to the senses and the soul)
  • Richard Wagner (19th c. classic german opera)- “The Ring Cycle”
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4
Q

Symbolist Plays/playwrights

A

Maurice Maeterlnick- THE INTRUDER
Benjamin Franklin Wedekind-SPRING’S AWAKENNING, EARTH SPIRIT (LULU)
August Strindberg- A DREAM PLAY, MISS JULIE
Wagner- THE RING CYCLE (German Opera)

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5
Q

Theatricalism

A

1902-1930’s (Russia)

  • Director centered, often restructuring classic texts
  • Vsevolaud Meyerhold (director, actor, technique)
  • Physical techniques from comedia, vaudeville, circus, etc.
  • Expose devices of theatre
  • Constructivist sets (BATH HOUSE, etc.)=set can represent many things and serve as many things
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6
Q

Non-Realistic Design

A

Aldophe Appia=lights, sensual, mystical, scrims

Edward Gordon Craig= architectural, lighting to isolate and sculpt

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7
Q

1915-1945 Socio/Political

A

WWI and WWII

  • money spent to support and repair
  • Great Depression, economies issues lead to dictators
  • Mussolini, Hitler, Stalin
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8
Q

Expressionism

A
  • Early 20th c. (Germany)
  • Starts as art movement (aggressive, violent, The Scream-you know from visuals what character is feeling)
  • types of characters by class/occupation (judge, clerk)
  • Politically motivated
  • Distorting reality to reflect inner feelings (through eyes of pro tag)
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9
Q

Expressionist Plays/Playwrights

A

Walter Hasenclaver-MORN TO MIDNIGHT
George Kaser
Ernest Toller-MAN AND MASSES
Eugene O’Neill-THE HAIRY APE

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10
Q

Futurism

A

1909 (Italy, early 20th c.)

  • idealized war/machine age
  • punky, aggressive
  • audience antagonism
  • interesting media, puppetry
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11
Q

Futurist Plays

A

Filip Marinetti- THEY’RE COMING (1915)

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12
Q

Dada

A

Swiss/French Early 20th c. (1916)

  • Irrationality
  • Pacifist (reaction to WW1)
  • Marcel DuChamp (artist, absurd)
  • Tristen Tzara (theatre, poetry=cut up words and toss up to make sentences)
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13
Q

Surrealism

A

1920’s (France)

  • Subconscious accessed reality
  • dream like world (Salvadore Dali art)
  • Plays: John Cocteau THE INFERNAL MACHINE
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14
Q

Theatre of Cruelty

A

France 1930’s

  • Antoine Artaud (30’s)
  • Jerzy Grotowski (60’s)
  • “Cruelly” rooting out society’s evils
  • change inclination to violence
  • less literary, more ritualistic
  • emphasized sensory
  • poor theatre (actor/aud), recognized new actor-aid configurations
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15
Q

Epic Theatre

A

Germany 1920’s-1940’s

  • Alienation. Distancing the audience’s emotions.
  • political, didactic climate for social change
  • presentational: break 4th wall, exposed lighting, big, broad
  • non-narrative: no through line
  • BRECHTIAN: “what is natural must have the force of what is startling”
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16
Q

Brecht’s Epic plays

A
  • episodic, morality type plays

- MOTHER COURAGE AND HER CHILDREN, THREE PENNY OPERA, GOOD WOMAN OF SETZUAN, CAUCASION CHALK CIRCLE

17
Q

Existentialism

A

France 1940’s-50’s

  • Grew from Philosophy
  • Life has little meaning
  • God is dead
  • humanity is irrational (gencide, post war, holocaust)
  • traditional structures, recognizable characters
18
Q

Existentialist Plays

A

Jean Paul-Sartre- NO EXIT (hell is other people)

Albert Camus - THE FLIES

19
Q

Theatre of the Absurd

A

International, 1960’s

  • human existence is futile, absurd, illogical
  • non traditional plot structure
  • plays are individualistic
20
Q

Absurdist Plays

A

Eugene Ionesco- RHINOCEROS (futile communication)
Sam Beckett- WAITING FOR GODOT, ENDGAME
Harold Pinter- THE HOMECOMING, BETRAYAL

21
Q

Selective Realism

A

1940’s-Present (American/Brit)

  • uses retain laments of reality while others exaggerated
  • plays feat. realistic acting (unreal. design.direction)
22
Q

Selective Realism Works/Writers

A

Art Miller- DEATH…, ALL MY SONS, THE CRUCIBLE, A VEIW FROM THE BRIDGE
Tennessee Williams-THE GLASS MENAGERIE, STREETCAR, CAT ON A HOT TIN ROOF (focus on nuanced characters, lyric, poetic symbolism
Edward Albee-THE ZOO STORY, THE GOAT OR WHO IS SYLVIA, WHO’S AFRAID OF VIRGINIA WOLF?