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Theatre History 2
Chapter 13: Theatres From 1915-1945
| Question | Answer |
|---|---|
| Antonin Artaud | (1896-1948)Born in Marseilles, France. Emphasized Theatre Cruelty. Surrealist, believed in renouncing western literary traditions that there were "no more masterpieces". Wrote Spurt of Blood (1924). Founded Theatre Jarry with Roger Vitrac and Robert Aran. |
| Bauhaus | (1919)(Gropius schools)Germany.Aim to break down barriers between craftspeople and artists, particularly in architecture and design. Interested in a total concept; in all aspects of design (houses, interior, furniture, decoration) Developed for Piscator. |
| Bertolt Brecht | (1898-1956) Historification parallels past and contemporary events. Epic Theatre Text-centered. Goal to make audience think then change the world. Verfremdungseffekt and Lehrstucke. |
| Bertolt Brecht cont. | Awarded Kleist Prize for Drums in the Night(1922) Man is Man(1926) Marxist, The Caucasian Chalk Circle(1944) Mother Courage and Her Children(1938) Galileo(1938) |
| Biomechanics | An aspect of Meyerhold's theory of acting: the idea that an actor's body should be machinelike and that emotion can be represented externally. |
| Civi Repertory Theatre | Ran by Eva La Gallienne(1926-1933) Offered classic as well as modern plays at low ticket prices. The Three Sisters, The Cherry Orchard, The Master Builder |
| Clifford Odets | (1906-1963)Playwright realist, Awake and Sing(1935) Waiting for Lefty(1935). Set standard for writing realistic writing and performance that was to last for several decades. |
| Dadaism | Movement in 20 century art between WW1 and WW2 which was based on deliberate presentation of the irrational and on attacks against traditional artistic values. Displace reason with madness...chaos in place of unity. Movement died after the war. |
| Elmer Rice | (1892-1967) Used expressionism to explore the depersonalization and mechanization of American Life. The Adding Machine(1923) Street Scene(1929) |
| Epic Theatre | (Piscator)Foremost political, means to instigate social change. (Brecht) Historification and titles used to distance audience more text-centered, goal to instruct. |
| Ernst Toller | Germany(1893-1939)Expressionist playwright. Depicted the descent from optimism to disillusionment. Transfiguration(1918) Man and the Masses(1921) |
| Erwin Piscator | (1893-1960)Developed Epic Theatre. Influenced by communist revolution in Russia. Developed proletarian theatre: that it should help foster social change. Used documentary materials. Connected with Gropius and Bauhaus school. |
| Ethel Waters | (1896-1977)singer/actor on Broadway and in film Worked on TOBA circuit, built reputation in South in 1910s By 1924, star in NY, appeared in revues First dramatic appearance in Mamba’s Daughter(1938) Noted for film A Member of the Wedding(1952) |
| Eugene O'Neil | (1888-1953)Wrote Variety of plays, each in different form, large themes (man vs. destiny) and formal experimentation First Pulitzer(1920) Nobel Prize in 1936 The Hairy Ape, Mourning Becomes Electra, Long Day’s Journey into Night, The Iceman Cometh |
| Eva Le Gallienne | (1899-1991)British born actor, director and producer Trained at RADA; moved to US at 17 Ran Civic Rep. Theatre(1926-33)produced classic to modern drama work for permanent ensemble company, though never got funding American Drama between the Wars |
| Expressionism | Movement that developed and flourished in Germany durning the period immediately preceding and following WW1. Depiction of subjective states through distortion, often grotesque, images; and lyric, unrealistic dialogue. |
| Fascism | A radical, authoritarian nationalist ideology towards a single-party state with a government led by a dictator who seeks national unity and development by requiring individuals to subordinate self-interest to the collective interest of the nation or race |
| Federal Theatre Project | (1935)make-work project during depression in several cities Innovative staging: “Free, adult, and uncensored” Simultaneous runs of Sinclair Lewis’ It Can’t Happen Here (21 shows in 17 cities)Living Newspapers, Closed in 1939 due to political opposition |
| Federico Garcia Lorca | (1898-1936)Spanish playwright/poet of 20th century, intense lyricism of plays about provincial life; strong female roles Blood Wedding(1933) Yerma(1934) The House of Bernarda Alba(1936) Developed folk flavor and traditional storytelling in his plays |
| Filippo T. Marinetti | Italian writer (father of futurism) They're Coming(1915) Believed the audience should be confronted and antagonized. |
| Futurism | (1909)A young movement, aggressive, militaristic, patriotic—non-nostalgic.—wanted to destroy libraries and museums. Synthetic drama—short moments of plays already done, parodies, others (a curtain rises on a country road, a gun shot, curtain falls) |
| Georg Kaiser | Expressionist, From Morn to Midnight(1916) Gas I(1918) Gas II(1920) |
| Gesamtkunstwerk | Richard Wagner's term for a unified operatic work of art, in which all elements-music, words, story, scenery, costumes, orchestra, etc.-form a total piece. |
| Guillaume Apollinaire | (1880-1918)French playwright, Surrealistic, The Breasts of Tiresias(1917) Parade(1917) |
| Group Theatre | (1930)Strasberg/Clurman/Crawford lectures by Clurman, broke free of Guild in 1931 Poor Focused on American rep Odets plays(1935-40)technique spread (Actor’s Studio Morris Carnovsky, Stella Adler, Luther Adler, Bobby Lewis, Elia Kazan, Sanford Meisner) |
| Harold Clurman | (1901-1980)Founder of Group Theatre, remained director and practitioner till death. Studied with Stan |
| Jacques Copeau | (1879-1949)Began as critic director of Theatre du Vieux Columbier before WW I Opposed naturalism Focused on actor training text Ensemble mask work Break barrier between actor and audience Focus on theatre as process Influenced Charles Dullin Louis Jouvet |
| Jean Anouilh | Noted for political plays, reworking of Antigone (1943) Early works realistic; later works were symbolic and metatheatrical (influenced by Pirandello, Giraudoux and Cocteau among others) Even more successful after WW II The Rehearsal Leocadia The Lark |
| Jean Cocteau | (1889-1963)French surrealist playwright, Antigone(1922) Orpheus(1926) The Infernal Machine(1934) |
| Jean Giraudoux | (1882-1944)One of leading French playwrights of interwar period Noted for witty, eloquent texts and irony – Amphitryon 38 91929) – Judith (1931) – The Trojan War Will Not Take Place (1935) – Ondine (1939) – The Madwoman of Chaillot (1944) |
| Kathikali | Indian dance-drama Performances last all night by Kalarippayatt martial art of Kerala; physical training draws upon classical and medieval Sanskrit drama, esp for gestures until recently, only men performed staged outdoors elaborate costumes |
| Laurence Olivier | (1907-1989)Noted for ability to adapt both appearance and style to the role Joined Old Vic company in 1937; later, directed Shakespeare on stage and film (Henry V and Hamlet are best known films) Head of National Theatre from 1963-1973 |
| Lillian Hellman | (1905-1984) American Playwright The Little Foxes |
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