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1926
Performance History II Final
| Question | Answer |
|---|---|
| Tenets of Modernism | Rejects notion that truth is observable + universal. Abandonment of humanist and scientific approaches. Interested in abstraction as a way to see truth. Subjectivity, spirituality, mysterious internal and external sources of truth. Truth is only symbo |
| Richard Wagner | Dramatist as myth-maker not recorder of domestic affairs. Drama dipped in the "magic fountain of music." |
| Gesamptkunstwerk | Unified facets of production. Director does everything—autour. |
| Symbolism/Stephen Mallarme | (1885) - Manifesto Theater d'art Theater de l'ovure Used representational images to convey bigger themes. Dreams and fantasies, unconscious understanding |
| Futurism | Filipo Marietti Movement to reject the past, embrace technology and better humanity. Glorified the energy and speed of the machine age. Synthetic drama, short plays given the essence of dramatic situation. Cabarets, insult the audience, FASCISM. |
| Surrealism | Andre Breton (1924) - Manifesto Pure process of thought—"automatism" (mind doesn't interfere with subconscience) |
| Theater of Cruelty | Antonin Artaud Founded the Theater Alfred Jerry (wrote Ubu Roi) Theater to drain the abscesses of the mind. "Theater and the Plague" Immediate gratuitousness provoking acts w/o profit on the mind. |
| Modernist Design | Adolphe Appai - Swiss Revolutionized light and performance space. Believed in unity. |
| Appia/3 Conflicting Visual Elements | 1) 3D Actor 2.) Perpendicular Scenery 3.) Horizontal Floor Elevated the role of LIGHT!!!!! |
| Theatrical Syndicate | Theater monopoly Horizontal consolidation James O'Neill David Balasco RIVALS - Schuberts |
| Little Theater Movement | Promoted new plays on American contemporary topics. Big boom from independent theater companies (2,000 of them by 1925) |
| Federal Theater Project | 1935 - 1939 Government funding for the arts. Forerunner to the NEA. Free adult and uncensored theater. Produces a whole lot of shit, from clowning to new theater. Political controversy! FUNDING REALLOCATED IN ww2 |
| Trifles | By Susan Glaspell Men v. Woman Sound of silence Ref. Brokett and Hildy |
| Langston Hughes | (1902 - 1967) Manifesto in 1926 "The Negro Artist and the Racial Mountain" American poet, novelist, playwright, activist A Raisin in the Sun |
| Harlem Renaissance | (1917) An energy routed in a specific place. Black migration into Harlem. Chance for the black community to display its artistic side. |
| Lafayette Players | Started by Anita Bush Gave African-American players longest term of employment in regular drama. |
| Federal Theater Project/Negro Unit | (1935 - 9) 23 Cities and 75 productions. Hatian/voodoo Macbeth. Frank Wilsons folk drama "Walk Together Children" - deportation of hundreds of children from America to work for shitty wages. |
| Jean Genet | (1910 - 1986) Poor childhood, criminal activity, "The Maids" Existentialist Interested in the "annihilation of reality" - destruction of preconceived notions of reality and setting. |
| Expressionism | Term came from France in 1901 - used to distiguish Van Gogh from the Impressionists. "The Scream" Edward Munch |
| TENATS of EXPRESSIONISM | Projected human emotions and attitudes on inanimate objects. Truth in spirituality rather than external experiences. Focus attention on inner qualities. Transformed social and political conditions to no longer distort the human spirit. |
| Techniques of EXPRESSIONISM | Distorted line. Abnormal coloring Mechanical movement Telegraphic speech Devices to lead audiences beyond surface appearances EVERYTHING shown through the protagonist's eyes. Hold out of promise of utopia. |
| EPIC theater | Erwin Piscator - founded theater that used "folk theater"—people use their own experiences (1920 Manifesto) Revolutionary - drama must be subvert to revolutionary ends. Simple sets, actors are normal people, collective effort Projection of slides and |
| Bertolt Brecht | Used epic theater. Sociological theater. Prevents empathy, appeals to reason over feeling. |
| die Verfremdungseffekte / Alienation | Distancing the audience from emotions. Strip an event of its obviousness and create awe. "The Street Sceene" Tools: Narrator, songs, masks, placards Good Woman of Szechwan |
| W.E.B. DuBois | 1868 - 1963 Criteria of Negro Art in 1926 believed in equal propaganda - theater was ALWAYS propaganda Even if blacks were given all rights of Americans, they should never forget their African roots. |
| Amiri Baraka | Revolutionary Theater "Imma kill you." Theater of Assault - "Slaughter of dim-witted, fat-bellied, white guys" Wrote "Slave Ship" |
| August Wilson | 1945 - 2005 "The Ground on Which Stand" 1996 - money is sociology, being black is not only a race but also a culture. Diagreed with DuBois' talented-tenth idea - rise above. University is the product of white privilege. Disagreed with color-blind cast |
| Early-Modern Dance | Loie Fuller - innovations of fabrics and colored lighting in movement. Isadora Duncan - Free and natural movement— uncorseted. Philosophy of dance (sought to make it high art). Ruth St. Denis - dance as cultural fuck up. Used vaudeville techniques. |
| Influences of the Solo Dancers | Skirt-dancing Melodrama Vaudeville All move from America to Europe |
| Martha Graham | 1916 - sparked career Contemporary composers Contraction/release Angular movements FLOW of ENERGY Used 'Murika for themes. LOVED collaboration |
| Dorris Humphrey | Fall and recovery / Tension and release Developed fully articulated choreography book. Music charicterization. Modern dance happened btw. emotional and rational |
| Jowitt's "Group Spirits" | 1930s as a time for group energy and community building BOLD gestures linked with emotion. Spacing as an architectural aesthetic. Physical daring related to struggle rather than virtuosity. |
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