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Drama > The ISMS > Flashcards

The ISMS Flashcards

1
Q

SOPOCO

A
  • Period of GREAT CHANGE
  • Each decade noted a new developement
  • Exciting and turbulent
  • Rapid developements in science and technology
  • Paradigm shift changed the way people behaved and thought
  • People started questioning and interrogating long held beliefs
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2
Q

1880’s-1900’s: What did philosophers, theoriest/thinkers do for society?

Social

A

challenged the way people thought about religion, philosophy, physics etc

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3
Q

DARWIN

Social

A
  • The theory of evolution: We all came from a common ancestor
  • Disputed creationism
  • Believed we are made up of our genes and environment
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4
Q

NIETZCHE

Social

A
  • “God is Dead”: people have severed their relationship with God; God is no longer a ruling force in people’s lives
  • Morality: The Church is morally wrong; each individual is to give their own meaning to life
  • Moral dualism which leads to Nihilism; ways to overcome Nihilism
  • Lead to developement of existentialism
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5
Q

FREUD

Social

A
  • Psychoanalysis, dreams and the subconcious
  • We are driven by our instincts, impulses and defence mechanism
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6
Q

EINSTEIN

Social

A
  • Theory of RELATIVITY
  • Revolutionised ideas of time, mass, distance and energy
  • Understanding of the physical world changed
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7
Q

Industrial Revolution

Political and Economic

A
  • Major changes in transport, agriculture and manufacturing (TAM)
  • Profound impacts on politics and economy: Capitalism, classes
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8
Q

Capitalism

Political and Economic

A
  • Private ownership
  • Consumerism
  • Class divide
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9
Q

NEW IMPERIALISM: COLONISATION

Political and Economic

A
  • Aggressive competition for overseas territory
  • Exploitation of resources and slave labour
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10
Q

MARXISM AND KARL MARX

Political and Economic

A
  • Criticised the capilast system: Saw it in all it’s flaws of dehumanisation adn explotaion
  • Proposed a new classless society
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11
Q

1910

Political and Economic

A

The age of European Militarianism

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12
Q

WW1: 1914 – 1918

Political and Economic

A
  • First time tech used exstensively (tanks, shells, machine guns)
  • People dies in millions
  • War to end all wars - they belived a war like this would never occur on this scale again
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13
Q

What happened between WWI and WWII

A
  • 1917: The Russian Revolution
  • 1920’s: The Roaring 20’s
  • Age of economic prosperity (US: Rapid urbanisation, stock market, wealth; RUSSIA: Rise in communism; GERMANY/ITALY: Rise in facism)
  • 1929: Stock market crash, great depression; women voting rights
  • 1930’s: World economic crisis
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14
Q

1930’s: Effects of The World Economic Crisis

What happened between WWI and WWII

A
  • High unemployment rate
  • US implemets progressive reforms
  • Italy + Germany = Rise of the dictators
  • Radio as a dominant media form
  • WWII breaks out and ends the recession
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15
Q

WWII: 1939 -1945

A
  • USA, Britain, Russia against Germany, Italy, Japan
  • Holocaust, Blitz, Atomic Bomb
  • 50-70 million deaths
  • Increased independence of women: encouraged to work
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16
Q

COLD WAR: 1946 – 1991

A
  • US capitalism vs. USSR communism
  • Ideological/Proxy war: space race, arms race, propaganda
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17
Q

POST-WWII: Existentialism

A

Rise of feelings of fear and despair, existence of God called into question, life seemed meaningless, science has failed us, loss of external organising principles

18
Q

What were the ISMS?

A
  1. Symbolism
  2. Expressionism
  3. Futurism
  4. Dadaism
  5. Surrealism (Epic Theatre)
19
Q

What did the Symbolists and Expressionists want?

A

Wanted to add new meaning to theatre by going beyond the surface reality of Realism

20
Q

What did the Dadaists, Futurists and Surrealists want?

A

They completely renounced traditional theatre and created an entirely new form

21
Q

SYMBOLISM: Time and Place

A

1880’s France

22
Q

SYMBOLISM: Response to Context

A
  • Began in the literary world: TS Elliot and Yeats
  • First movement to rebel against Realism (Anti-realist movement)
  • Avoided any attempt to solve social issues
  • Little impact on mainstream theatre, however profound impact on future movements
  • Used symbols in replacement for direct statements
  • Simplified settings
23
Q

SYMBOLISM: Aims/Intentions

A
  • Dramatise thoughts and feelings - create a subjective reality
  • Suggest a universal truth that of which cannot be defined by logic
  • Therefore logical though communicated ONLY by symbols
  • Appreareance is a minor aspect of reality; reality is found in the unknowable and mysterious forces that control reality
  • Play becomes a metaphore: uses symbols to evoke feelings and emotions
  • Penetrates beyond the surface reality; expressed inner meaning of life
24
Q

SYMBOLISM: Key Features and Characteristics

A
  • Keynote: SIMPLICITY
  • Mood and atmosphere: created by lighting, colour, shapes, lines
  • Lighting UNIFIED stage + actor + set
  • Plays were delibirately artificial - intended to mystify the audience so the audience could look for a deeper meaning
  • Did not adhere to 3 unities
  • Actor akin to sculpture: rhythmic, dance-like movement
  • Stock type: Controlled by fate
  • Proscenium arch allowed a 3D fluidity
  • Set: impressionistic to capture the spirit of life, not the form; Complimented the actor - focus remained on the actor
25
Q

EXPRESSIONISM: Time and Place

A

1910 Germany

26
Q

EXPRESSIONISM: Response to 20th century context

A
  • Protest against materialism, industrialism and effects of capitalism
  • Saw these things as destroyers of the human spirit
  • Used sarcasm and satire
  • Expressionist said industrial age had turned humans into machines: with conditioned responses and souls shrivelled by materialistic values
  • There was no absolute truth – truth found within humankinds (spirits, desires and visions) – subjective
27
Q

EXPRESSIONISM: Aim/Intention

A
  • Protest against social order, paternalistic family structures and ethics of capitalism
  • Wanted to reshape the external world
  • Explore the subjective reality of humankind
  • Expose inner feelings and experiences of characters
  • Wanted social change – therefore themes were strongly represented
28
Q

EXPRESSIONISM: Key Features

A
  • Focused on how the human spirit has been distorted by false values - DISTORTION
  • Protagonist (author-hero – mouthpiece of the playwright) – searching for identity and fulfilment or a means to change the world
  • Warped by materialism and industrialism
  • As they become more tortured and disturbed by external world, the more distorted and exaggerated the scenery, lighting, sound and costumes become
  • Staging: anti-realist sets, shapes that are altered and exaggerated (sharp angles), abnormal colour, mechanical movement
  • Actor’s Schrei: an exaggerated facial expression showing a silent scream (dissatisfaction with bourgeois complacency)
  • Speech exaggerated: varied from long speeches and prose to short, rhythmic staccato bursts of speech – reinforces the offbeat atmosphere and dehumanised characterisation
  • Theatrical devices: narrators, soliloquies, music, dancing, unusual sound and technical effects
  • Unity of time, place and action is disrupted – episodic structure
  • Stock characters: strong themes and messages, emphasis on essential experiences of masses, simplified plot, communicate the protest message
  • Grotesque imagery and a satirical mood
  • Dark and Light contrast
29
Q

FUTURISM: Time and Place

A

1910 Italy

30
Q

FUTURISM: Response to 20th century context

A
  • Futurists: saw machine age as the key to an enlightened future
  • They glorified machine age rather than focusing on psychological introspection
  • Rejected the past because they believed it stood in the way of progress
31
Q

FUTURISM: Aims/Intention

A
  • Replaced existing drama with a synthetic one that compressed time and space
  • By showing simple, unrelated scenes simultaneously in one dramatic setting
  • Amalgamate the arts (liked circuses and musicals and anything that broke the tradish proscenium arch setting)
  • Sought confrontations with the audience and challenged their prejudice about what art is
32
Q

FUTURISM: Key Features

A
  • Performances were a confrontational mix of forms: visual events, dancing, displays performed simultaneously or in succession – result was quite chaotic
  • Actors sometimes performed in the auditorium
  • Opposed traditional conventions and employed a variety of art forms - multimedia techniques
33
Q

DADAISM: Time and Place

A

Switzerland 1920’s

34
Q

DADAISM: Response to 20 th C context

A
  • Began in 1916
  • Based on philosophy of nihilism (belief in nothing, rejection of all certainties, structures, extreme scepticism)
  • Grounded in a rejection of values that had provoked WWI
  • Because insanity seemed to be the world’s state they replaced logic, reason and unity with illogic ‘calculated madness’
  • Expressed disgust with social and artistic traditions: “spat in the eye of the world”
  • Tristan Tzara (manifesto): Dada is everything, dada doubts everything,** the real Dadaists are against dada”**
  • Destroyed old forms so that new forms could truly represent the human condition
  • Succeeded in bringing into question the nature of art
35
Q

DADAISM: Aim/Intention

A
  • Protest against the senseless brutality of war, where all moral and aesthetic values were meaningless
  • Spread anti-art and non-sense to show that art depended on chance alone
  • Did not try to suggest how to improve the world, they just questioned everything that existed
36
Q

DADAISM: Key Features

A
  • Used a variety of forms: visual art, dance, lectures, short plays to convey their philosophy
  • Like Futurists, they used simultaneity and multiple focuses
  • Believed that theatre was an illogical arrangement of unrelated objects and events
  • Motto was “nothing” – Grosz – our symbol was nothingness, a vacuum, a void
  • No order, no logic, no meaning, no optimism
  • Staging intended to shock audiences
  • Rejected the proscenium arch
  • Against ALL forms of traditional staging
  • HUGO BALL – nonsense sound poems
37
Q

SURREALISM: Time and Place

A

France 1930’s

38
Q

SURREALISM: Response to 20 th C Context

[4]

A
  • Dadaism was absorbed into Surrealism (also a revolt against Realism)
  • Andre Breton launched it in a manifesto in 1924
  • Wanted to express real process of thought
  • Wanted a new reality based on artistic truth, using the subconscious dream- state of the mind
  • Emphasised importance of subconscious (Freud)
39
Q

SURREALISM: Aim/Intention

[3]

A
  • Explore imaginative images of dreams and subconscious mind and not be limited by reality
  • Expose “inner truths”, and to do this the conscious mind must be subverted
  • Go beyond the normal perceptions of the outside world
40
Q

SURREALISM: Key Features

A
  • Staging drew inspiration from dream-like images
  • Words and images had free reign on stage to encourage the breaking of the natural censorship of the mind
  • Sentences without grammatical structure, juxtaposed with situations that seemed to have nothing in common – but they have a connection in the subconscious
  • Theatre of Cruelty: Antonin Artaud
  • Used new spaces to replace traditional theatre buildings
  • Stark lighting, shrill sound effects
  • Appeals to the rational mind were useless because people were conditioned by society to ignore their impulses
  • Language seen as having too close a connection with rational thought
  • Broke down the audience’s defences by assaulting their senses
  • Became v influential after WW2 (bitter and disillusioned) and in 1960s (Grotowski and Poor Theatre)

Drama (5 decks)

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