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Introduction to Theatre TH 2413 Review for Final Exam

Introduction to Theatre TH 2413 Review for Final Exam -...

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Introduction to Theatre TH 2413 Review for Final Exam December 2011 Review for Final Exam will include: Mid-term Review Chapters 1, 2, 11, 12, and 13 and Dead Man’s Cell Phone and Top Dog Under Dog Post Mid-term Review Chapters 7, 9, 14, 15, 16, and 17 and Proof Chapter 7 – Modernism and Its Effect: 1885-1960 Terminology Modernism Symbolism Maeterlinck Théâtre de l’Oeuvre Scrim Lugné-Poë Expressionism Futurism Marinetti Variety theatre Dadaism Tristan Tzara Cubism Adolphe Appia Edward Gordon Craig Max Reinhardt August Strindberg New stagecraft Lee Simonson Norman Bel Geddes Actor’s Studio The Method Art for Art’s Sake Oscar Wilde English Aestheticism American Laboratory Theatre The Federal Theatre Project Robert Edmond Jones Thornton Wilder Bertolt Brecht The Group Theatre Epic Theatre Antonin Artaud Alienation The Berliner Ensemble Peter Brook Surrealism Theatre of Cruelty Eugene Ionesco Jean Genet Arthur Miller Eliz Kazan Psychological realism Tennessee Williams Jo Mielziner Musicals Existentialists Jean-Paul Sarte Albert Camus Absurdism Samuel Beckett Modified Realism Outline I. By the late 1880s, a rebellion against realism was emerging A. One group of artists rejected the belief that art should seek to objectively represent human behavior and the physical world, and substituted its own subjective visions, usually involving some degree of abstraction and distortion A.1. This rejection of the relationship between perception and representation is often considered the beginning of the modernist temperament A.2. Artists might now be valued for imaginative perception and formal innovation rather than accurate renditions of recognizable subjects
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II. Symbolism A. The first artistic movement to reject the traditional relationship between perception and representation A.1. Began in 1885 A.2. Argued that truth transcends objective examination A.3. Truth can only be hinted at through a network of symbols that evokes feelings and states of mind A.4. Pelléas and Mélisande by Maurice Maeterlinck is perhaps the best known symbolist play B. Symbolists chose their subjects from the past, the realm of fancy, or a mysterious present B.1. They avoided any attempt to deal with social problems or environmental forces B.2. They aimed to suggest a universal truth independent of time and place B.3. Their drama tended to be vague and mysterious C. The symbolists established independent theatres in which to perform their plays C.1. Théâtre de l’Oeuvre – Paris, 1893, founded by Aurélien-Marie Lugné-Poë C.2. Most important aspect of a symbolist production is mood or atmosphere C.2.a. Often placed a “scrim” at the front of the stage so that the action would appear to take place in a mist or timeless void C.2.b. Color was chosen for mood rather than representational accuracy C.2.c. Actors would chant lines and use unnatural gestures C.3. Performances were so different that many audience members were baffled C.4. Symbolism lost its appeal as a theatrical movement, but remains the 1
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