Empirical is what you can observe b Expressionism bi Protagonists perspective

Empirical is what you can observe b expressionism bi

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Empirical is what you can observe b. Expressionism b.i. Protagonist’s perspective dramatized- distorted by emotion b.ii. Wants us to look through the world through the character’s eyes b.iii. World often seen as cold, mechanical b.iv. Spiritual awakenings b.iv.1. They discover there is more to them than what’s on the surface c. Dadaism & surrealism c.i. Dada: chaotic view of the world c.ii. Created collage music/plays c.iii. Designed to challenge audience c.iii.1. Trying to get audience to wake up c.iii.1.a. Ex. Character yelling shit as the opening line c.iii.1.b. Rock the boat c.iv. Surrealism: dramatize subconscious, dreams d. Absurdism d.i. Characters stuck in bizarre situations d.i.1. Showing things that are absurd. Origins of cringe comedy d.i.1.a. People are stuck in weird situations d.ii. Circular/static plots d.iii. Sparse language d.iii.1. They don’t know how to explain themselves d.iii.2. Have problems with communication
e. Bertolt Brecht & Epic Theatre e.i. Alienate the audience: thing, not feel e.ii. Use history to comment on present e.ii.1. Always set his plays in the past to comment on the present e.iii. Remind audience they are in the theatre: e.iii.1. Didn’t want you to get caught up in the story. You should remember you’re in the audience e.iii.2. Open stagecraft e.iii.3. Musical numbers e.iii.4. Puppets e.iii.5. Narrators e.iii.6. Film e.iii.7. Don’t make it too realistic IV. Lynn Nottage (b.1964) & Crumbs a. Capturing African American experience b. Often focused on women and families c. Crumbs (written 1995) – set in 1950’s Brooklyn d. Generational conflict e. Conflicting political ideas within family I. The actors function a. To create an intellectual and emotional illusion b. To project that illusion from stage to audience c. Acting is behaving truthfully under imaginary circumstances II. The actors tools a. Body b. Voice c. Imagination d. Intelligence III. The actors training a. Movement a.i. Neutral body a.i.1. Actors know how they themselves move and need to train themselves so they can change the way they move like the character a.i.2. Flexibility a.i.3. Strength a.i.4. Dance
a.i.5. Stage combat a.ii. Voice a.ii.1. Neutral voice a.ii.1.a. Projection a.ii.1.b. Articulation a.ii.1.c. Singing a.ii.1.d. Dialects IV. The actor’s stages a. Preparation a.i. Analyse the script/character a.i.1. Given circumstances a.i.2. How does the character move? a.i.3. What does the character… want? Say? Mean (subtext)? a.i.4. Shat do others say about the character? b. Rehearsal b.i. Rehearsal process: experimentation, then selection b.ii. Lines and blocking b.iii. Collaboration b.iv. Improvisation b.v. Curiosity b.vi. Willing to fail and try again c. Performance c.i. Energy –fresh each night c.ii. In the moment c.iii. Know your space proximity to audience c.iv. Feed off each other V. End results a. Stage presence-audience wants to watch it. Charisma. Ability to be at ease on stage b. Consistent performance c.

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