the history of western drama
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The History of Western Drama. Beginning Acting Resource: Robert Cohen. Theatre, 8 th edition. Greek Drama. 534 BCE - 336 BCE. Greek Theater. Dithyrambs Thespis Ritual festivals feature competition of plays Tetralogy Singing and dancing chorus 1 – 3 actors - PowerPoint PPT PresentationTRANSCRIPT
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The History of Western Drama
Beginning Acting
Resource: Robert Cohen. Theatre, 8th edition.
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Greek Drama534 BCE - 336 BCE
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Greek Theater Dithyrambs Thespis Ritual festivals feature
competition of plays Tetralogy Singing and dancing
chorus 1 – 3 actors Use of masks to
portray a variety of characters
Aristotle’s Poetics
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Dramatic Genres Tragedy
From the Greek word “tragos,” meaning goat song.
Serious portrayal of human suffering, through protagonist’s hamartia and decline.
Concluded with catharsis Satyr Play
Bawdy comedy that satirized accompanying trilogy.
One complete satyr play survived: The Cyclops, by Euripides
Comedy Humorous handling of political issues, sexuality,
and the gods. Often included nudity, animalistic characters Performed separately from tetralogy
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Greek Playwrights Aeschylus – Orestia, Prometheus Bound Sophocles – Oedipus Tyrannos, Antigone Euripides – The Trojan Women, The Cyclops,
Medea Aristophanes – Lysistrata, The Birds
Greek Theatron Orchestra Thymele Skene Eisodoi (or
parados) Ekklyklema Deus ex
machina
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Hellenistic Period Period spans the rule of Alexander the Great to
the rise of the Roman Empire. Greek culture extended into Europe and Asia, due
to military conquests. Drama included Greek tragedies and new comedy Chorus reduced in importance, and provided
music and dance, light entertainment. Playwright
Menander - Dyskolos (The Grouch), Epitrepontes (Men at Arbitration) Samia (Girl from Samos)
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Roman Theatre240 BCE - AD 476
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Roman Theater Adapted from Greek drama Mainly comedies, performed for ruling classes during
festivals and holidays Lacked religious and cultural meaning. Performed alongside circuses and gladiatorial
competitions. Chorus was removed from performance. Persona
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Roman Playwrights Plautus – The Menachmi Twins, Aulularia,
Pseudolus Terence – The Eunuch, Andrian, The Brothers Seneca – Hercules, Octavia, Phaedra
Roman Auditorium
Platae Frons scaenae Vomitorium Orchestra
Roman Theater, Orange, France
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The Middle AgesAD 900 - 1500
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The Middle Ages Christian doctrine
dominated literature, culture Rise of feudal system,
nobles and peasants, and rural communities
Tropes – Quem Queritis 1210 AD, Pope removed
drama from the Mass Cycle Plays – The York
Cycle Morality plays – Everyman York Mystery Play, 2010
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The Cycle Play First dramas written in
English Playlets relating the stories
of the Bible Community guilds
responsible for production of each playlet
Large scale productions lasted several days (40+) with large casts (300+)
No notable authors Rolling procession Performed at high religious
events Written in verse to elevate
status of characters, subject matter
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Renaissance Theatre
1500 - 1660
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The Renaissance Creative movement that
influenced all of Europe
Emphasis on discovery, individual potential, creativity, reasoning
Rediscovery of Greek and Roman ideas, including humanism: “man is the measure of all things”
Decline of feudal system, religious dogma
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England – Shakespearean Era 1559 – Queen Elizabeth I bans religious cycle
plays Drama written in verse, prose, and doggerel Included foreign locales, complex stories,
historical reference Travelling players
Named after sponsor: Lord Admiral’s Men, Lord Chamberlain’s Men
Skilled actors, musicians, acrobats writers All male troupes; boy companies
Public Theater Enclosed yard, with 3-story gallery for viewing Raised stage, backed by tiring house The Rose, The Globe
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England – (con’t.)
Playwrights William Shakespeare –
Romeo & Juliet, Hamlet, The Tempest
Christopher Marlowe – Tamburlaine the Great, The Tragedy of Dr. Faustus
Ben Jonson – Volpone, The Alchemist
1642 – Puritans named actors and drama “sinful,” banning all theatrical performances. Ended with the return of Charles II to the throne in 1660.The Globe Theater, London, England
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Italy Renewed interest in Greek and Roman culture by
elite society Developments in architecture, painting,
literature: Filippo Brunelleschi, Leonard da Vinci, Petrarch Proscenium Arch
Travelling troupes were skilled actors, musicians, acrobats, female performers
Commedia dell’arte Stock characters Use of masks, costumes,
portable stages, slapstick Lazzi
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Spain – Spanish Golden Age Spanish Inquisition (1480) 1400’s - Dramas were liturgical, religious in nature 1500’s – secular pasos performed by travelling
companies Women permitted to perform in productions Dramas included themes of personal honor,
chivalry, blended genres Corrales de comedia Playwrights
Lope de Vega – Fuenteovejuna Pedro Calderon de la Barca – Life is a Dream Miguel de Cervantes – Don Quixote, stage
adaptations
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Restoration Theatre
1660 - 1700
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Royalty became patrons of theater, commissioning plays and entertainment, establishing aesthetic standards
1600’s - Started in Spain, and progressed to France, then England.
Performances became social gatherings for elite society
The Royal Theater
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France French Neoclassicism
Established strict format for playwriting, limiting creativity
Drama focused on social commentary, domestic issues; lacked plot and action
Tennis court performances Public theater - Parterre, proscenium arch, loges Playwrights
Pierre Corneille – Le Cid, Medee Moliere, (aka Jean-Baptiste Poquelin) – Tartuffe,
The Imaginary Invalid, The Bourgeois Gentleman
Jean Racine – Phaedra, Alexander the Great, Andromaque
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England English Restoration (1660) Restoration Comedy – aka “Comedy of Manners” English Royal Patent of 1662 – allowed female
actresses at “legitimate” theaters The Drury Lane Covent Garden Raked stage, proscenium arch, bench seating in
pit Playwrights
William Wycherly – The Country Wife William Congreve – The Way of the World Aphra Behn – The Rover John Dryden – A World Well Lost
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18th & 19th Century Theatre
1700 – 1880
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Developed in reaction to elitist styles of French Neoclassicism and Restoration Comedy
Began as sentimental comedy
Appealed to the masses Focused on appeals to emotion rather than intellect Reflected the virtues of private life Featured action, exotic locales and exaggerated
passion Evident in Opera and early musicals
Romanticism
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Playwrights Richard Steele – Conscious Lovers Joseph Addison – Cato George Aiken – Uncle Tom's Cabin, based on
novel by Harriet Beecher Stowe Alexandre Dumas – Camille, The Three
Musketeers Johann Wolfgang Von Goethe – Faust Edmond Rostand – Cyrano De Bergerac
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Realism – likeness to life Influenced all facets of theater: playwriting,
direction, acting, and design Examined social, psychological and political
complexities of life Complex characters and relationships David Garrick – Actor-Producer of the Drury Lane
Theatre Fourth Wall Playwrights
Henrik Ibsen – A Doll’s House, Hedda Gabler, Ghosts
George Bernard Shaw – Major Barbara, St. Joan Anton Chekhov – The Cherry Orchard, The Three
Sisters
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Naturalism – a slice of life Extreme form of realism where natural and social
environment override individual willpower Character development versus plot development Established in France by theorist, Emile Zola Playwrights
August Strindberg – Miss Julie Arthur Schnitzler – La Ronde
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Modern Theatre1880 – Current
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Antirealism – Began in Paris, 1880, by artists who saw Realism
as ordinary and mundane Plays explore the human condition; characters are
symbolic, facing universal conflicts, and withstanding adversity
No principles or formulas for aesthetics, but some with similar characteristics
Drama included verse, novelty, fantasy, superhuman abilities, extravagance
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The Age of “Isms” Symbolism
Explored inner human reality not directly or literally perceived
Symbolic characters represent philosophical ideals or warring internal forces
August Strindberg – A Dream Play (1902) French Avant Garde
Abandoned conventions of Realism to create new theatrical style
Alfred Jarry – Ubu Roi (1896) Expressionism
Attacked senses with bright lights and color, abrasive sound effects, and aggressive pace
Eugene O’Neill – The Hairy Ape (1921)
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The Age of “Isms” Theater of Cruelty
Explored the source of dreams, using cruelty, savagery, criminality
Employed language for its sounds rather than meaning
Theater of Alienation Use of theater to influence public issues and motivate
social action Bertolt Brecht – The Good Person of Szechuan, The
Caucasian Chalk Circle Theater of the Absurd
Themes based on the search for meaning or purpose in life
Samuel Beckett – Waiting for Godot, Endgame Harold Pinter – The Birthday Party, The
Homecoming
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American Realism First major theatrical form in United States Confronted impact of social issues on normal
people Enhanced by realistic acting style developed by
theater companies Popularized by American film industry Playwrights
Eugene O’Neill – Beyond the Horizon, Mourning Becomes Electra, Anna Christie
Clifford Odets – Waiting for Lefty, Awake and Sing!
Arthur Miller – Death of a Salesman, The Crucible, All My Sons
Tennessee Williams – The Glass Menagerie, A Streetcar Named Desire
August Wilson – Fences, The Piano Lesson, Gem of the Ocean
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Postmodernism 1970’s – sexuality,
profanity, violence, used to shock audience
1980’s – focused on diversity to raise public consciousness, global awareness
21st Century – became a platform to debate issues of terroism, war, religious rights, and political control
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Theatrical styles Experimental theatre
Dadaism Nonlinear theater
David Auburn, Proof Harold Pinter, Betrayal
Open Theater Joseph Chaikin, Open Theatre Company
Diversity Feminist theatre ensembles Negro Ensemble Company Color blind, and cross gender casting Fusion theatre Macaroni theatre Exploration of sexual preferences – Tony Kushner,
Angels in America
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Theatrical styles Spectacular Theatre
Advances in lighting, sound and computer technology Apparent in cinema, performance art, musicals,
music concerts Verbatim Theatre
Moises Kaufman – The Laramie Project (2002) My Name is Rachel Corrie (2005)
Workers’ Theatre El Teatro Campesino, California (1965) Free Southern Theater, Mississippi (1963) Cornerstone Theater, California (1986)
Movement art and dance theatre Solo performance
William Luce – The Belle of Amherst (1976) Jay Presson Allen – Tru (1989)
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Asian Theatre
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Asian Theater Developed in isolation from
Western culture Emphasis on imagery and
symbolism, rather than realism and literary merit
Drama includes dance, song, chant, mime, acrobatics, puppetry
Centered around folk history, cultural myths, ancient religion
Drama featured multiple authors, improvisation, and adaptations
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India Sanskrit Dance-Theater
Documented in treatise Natyasatra, detailing play structure, stage buildings, performance, etc.
Died out in 10th century due to Mongol conquests and fragmented culture
Kathakali – “story play” Developed in 17th century Based on stories from the Mahabharata
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China Shadow Plays Xiqu – “tuneful theater”
Performers must be skilled in all: singing, speech, acting, movement, acrobatics, martial arts
Teahouse performances Included both humorous and serious elements Beijing Opera 100 Words Festival
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Japan No
Ceremonial drama, retelling myths and supernatural events
Characters include shite, waki, and chorus Comic interlude called the kyogen
Bunraku Developed in 6th century, using life-like puppetry All-male puppeteers, musicians, and chanters Three puppeteers per character, cloaked in
black Kabuki
Originated in 17th Century Multi-act play, utilizing stylized costumes, face
paint, scenery, movement
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Notable Asian Playwrights Rabindrinath Tagore (1861 – 1941) - India
Nobel Prize for Literature in 1913 for poetry Challenged classical sanskrit, and wrote poetic, political,
and personal works Ts’ao Yu (1910-1996) - China
Influenced by Greek and Western drama, wrote “spoken theater”
Kuan Han Ch’ing (1241 – 1320) - China wrote in zaju style, The Injustice of Dou E
Chikamatsu Monzaemon (1653 – 1725) – Japan Domestic dramas, usually ended with suicide of one or
both lovers