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Unformatted text preview: 1-28-08 Realism Onstage Starting about 1850 Avant-garde in its time Goal: Theatre as a tool for social progress Social Problems & issues class, gender roles, STD's Premise: Art that show life as it is (not as it should be) o Good doesn't always win Contemporary stories Realistic speech- no verse; prose instead Realism Onstage, cont. Staging: Environment essential to plot and character Specific rather than stock Highly detailed; real furniture Box Set, spectators view through the "4th wall"- ripping down someone's "fourth wall" and seeing into their life Lightning: Introduction of Gas Light, 1816ish Downing of house lights help audience focus on subtle detail Some key playwrights Henrick Ibsen, Norway, 1828-1906 Ex. A Doll's House- door slam heard rough the world! Got rid of soliloquies and asides Aside- talking to the audience without other characters hearing Soliloquies- one character talking to themselves Motivated exposition- There is a motive why the character says something. Each character shaped by heredity or environment Emphasis on psychology Key playwrights, continued Anton Chekhov, Russia, 1860-1904 Moscow Art Theatre 4 major plays: The Cherry Orchard, Uncle Vanya, Three sisters, the Seagull About monotonous life of landowning class Characters seem stuck, caught in patterns Infinite detail but subtle Acting for Realism Performing the Unconscious Mind Subtext: don't always say what they mean. Not aware Stanislavski (who directed Checkhov) "The system," working against contrivance onstage "Magic If" and Emotional Mary- Jumping from the hypothetical to the real. Interacting with space/environment o Role of director develops o Realistic movement ...
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- Spring '07