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THTR 327 EXAM #3
THTR 329 EXAM #3
| Question | Answer |
|---|---|
| 1900 - 1920 The New Century or Maybe Even the 20th Century | Widespread movement to create reforms and improve the country |
| what exemplifies the improvement of the country | Department of commerce + labor to protect workers Antitrust laws put into place to protect small businesses People in theater wanna make changes for what the artform was |
| Continuation of which Acting Styles | School of Emotionalism Personality Actors Classical Actors Realistic Actors |
| School of Emotionalism | primarily women, reckless abandon of emotion on stage |
| biggest star of emotionalism | Clara Morris |
| Clara Morris nicknames | “The Mistress of Tears” and “The Queen of Spasms” |
| Personality Actors | playing themselves, “sweetness and light” like a hallmark movie |
| one of most famous personality actors | Maude Adams - known for Peter Pan - Happy personality |
| Classical Actors | well trained, variety of roles, but still stylized in that sense |
| classical actor who came over from germany learned a little bit of english | Fanny Janauschek |
| a male significant classical actor | James O’Neill - Father of Eugene O’Neill |
| who was also known as the count of monte cristo | James O'Neill Maybe part of why he became an alcoholic bc everyone wanted him to play this role all the time |
| Realistic Actors | i wrote nothing else here so this must just be what it sounds like |
| notable realistic actor male | William Gillette - Secret Service, Sherlock Holmes |
| notable realistic actor female | Minnie Maddern Fiske |
| what does the notable realistic female actor deserve most credit for | rejuvenating theater yet often overlooked - sort of came up with new acting style - Champion of ibsen and other foreign playwrights to bring naturalism to america |
| Maddern Fiske was one of two people to what | One of two people that never gave in to the syndicate |
| maddern fiske road of career | child actor in 1870 famous for traditional shows 20th century explored different modes of acting, more based on psychology |
| what happened to fiske in cleveland | In cleveland doing Becky Sharpe and someone was like dude read ibsen |
| what was fiske shcool of acting | Modern School of Psychological Naturalism |
| what did the fiske school of acting emphasize | - Emphasis on psych truthfulness in the portrayal of a character - Concentration on inner feeling with simplified, repressed, external action - Fidelity to the design of the play with all performers subordinate to the overall purpose of dramatist |
| what was the Modern School of Psychological Naturalism similar to | stanslavski - prior to him BUT he toured so he got the recognition |
| what does fiske do in 1904 | opens the Manhattan Theatre Company - she was manager |
| what was the fiske 1904 theatre approach | - careful and studious - Understand the character mind and heart and impulse for every action - Style was quiet and repressed, but charged and had intensity ------ suggested emotions, overhelming naturalism - Worked to identify self with the character |
| manhatten theatre company style was what in the theater world | NEW she was NEW and people commented on this difference and how impactful it was |
| foreign contributions to american drama: playwrights - "father of modern drama" | IBSEN |
| what plays did the father of modern drama write | ghosts, a dolls house - controversial lowkey feminist, esp a doll's house many social issues in his plays |
| foreign contributions to american drama: playwrights - guy whose name sounds like an instrument | STRINDBERG |
| what plays did strindberg write | Miss Julie intimate theater - smaller shows, not giant spectacle psych issues |
| foreign contributions to american drama: playwrights - russian af | CHEKOV |
| what plays did the russian guy write | Uncle Vanya credit for inventing subext - hiding true feelings emotional issues |
| foreign contributions to american drama: playwrights - everybody got this wrong in 329 on one exam | GEORGE BERNARD SHAW |
| what plays did bernard shaw write | Heartbreak House very strong characterization - LONG stage directions to establish detail, important independent theaters |
| foreign theater created what kind of theater that was really cool | Teatro Libre - Free Theater |
| who created the free theater | andre antoine |
| what was the free theater | made to get around censorship early version of subscriptions set w/ all 4 walls to force realism of actors |
| back to madde n fiske - why did she found her own theater? | allowed her to do popular shows plus stuff from europe (reminder ibsen slut) shut out by syndicate and other smaller theaters bc of controversality |
| who stole all of Madden Fiske credit | another actress from Moscow Art Theater - MMF ideas popularized by this CUNT (im sorry #womenlove) |
| why do we need actors unions atp in time: traveling shows | actors hired for run off show - if traveling show closes, actor must pay way back to NYC to get next job |
| why do we need actors unions atp in time: rehearsals | actors not paid for rehearsal periods - rehearsal period getting longer w/ emergence of directors like Daly, Belasco, Mackaye |
| why do we need actors unions atp in time: directors | actors are becoming subordinate to directors |
| why do we need actors unions atp in time: money | actors paid dirt cheap (okay so same as today) |
| why do we need actors unions atp in time: performing | legitimate actors performing 10 performances a week vaudeville actors performing 5 shows a day - 35 shows a week, 12 - 12 (oh brother) |
| what gets created to help out of poor actors in 1913 | actor's equity association - still exists |
| what does this actor equity mean | fair minimum wage, max of 8 performs a week, limit on free rehearsal time, no sunday performs, compensation for NYC travel |
| what happened in 1919 | actor strike! - other groups get involved - 9/6/1919 contract signed |
| pros of the union | better working conditions higher salaries |
| cons of the union | higher production costs - producers less willing to take artistic risks, prefer safe entertainment that appeals to large numbers |
| the little theater movement | inspired by independent theater in england (MAT) |
| new theater | part of the little theater movement 3,000 people |
| who would be the director of the new theater | Winthrop Ames |
| AMES first production | Anthony and Cleopatra with Julia Marlowe and E.H. Southern - huge spectacle, even tho not rly the point of these theaters - plus huge big stars which goes against having an esemble |
| new theater as an org lasted how many years | 2 |
| The Problems w/ little theater vibes | Board of wealthy philanthropists making decisions They want to create an ensemble like MAT, but keep bringing in new stars bc money and people Size of theater not appropriate for intimate modern plays and realistic acting style |
| Doing repertory of both the classics and the modern problem play was a problem for little theater why | Each requires a diff type of stage; neither one is big enough to fill a large auditorium |
| typically places like MAT would find new writers BUT here in america at the little baby tiny theater | Did only one American Play |
| 1910 - The Drama League of America | Goal: establish chapters in towns across America; each chapter would encourage and promote an appreciation of the new artistic drama and stagecraft |
| what was other stuff up with the drama league of america | Non-professionals - They would like read new plays and be like why should we respect stuff - Bring in guest people to talk to the people about the plays - Stagecraft too, they would look at photos from MAT |
| 1911 - 1931 DLA Publishes what | The Drama |
| what is the drama (haha the gossip the tea) | Texts of new, avant-garde plays; articles on new European innovations; educational mission (lowk a book club) |
| what the growth like of DLA gossip tea drama | 1911: 12k new members of DLA in 25 states 1922: more than 100k members of DLA in 114 cities |
| DRAMA LEAGUES IMPACT | - Adds momentum to movements against mass-produced commercial theater - Inspires local communities to start their own little theaters - Helps to begin the trend toward decentralization of theater away from NYC |
| DRAMATIC ARTS IN COLLEGES | Always had these programs, but is it legitimate |
| what guy was of harvard and did a thing with a class | George Pierce Baker |
| George Pierce Baker created what | English 47 (1905) A similar course 47 Workshop (1913) |
| English 47 (1905) | Group that became a class, but started as an extracurricular no theater classes, but this was that |
| what did baker do with english 47 | He left for Yale and founded the Yale school of Drama - First official theater program |
| what was baker's goal | Baker’s goal: to train leaders that would rejuvenate commercial theater; create a link between educational theater and commercial theater - creating the artists to do the work |
| Playwrights that got taught by Baker | S.N. Behrman Philip Barry Sidney Howard Percy Mackeye ****Eugene O’Neill***** |
| Directors that got taught by Baker | Alexander Dean ***Sam Hume*** ***Winthrop Ames*** Theresa Helburn ***George Abbot*** |
| Critics that got taught by Baker | Well known critics but no names we need to know |
| Designers that got taught by Baker | Lee Simonson Robert Edmond Jones |
| By 1940, educational theater is accepted at most universities and colleges | Omg we need to build theaters now |
| NEW DIRECTIONS IN THEATER ARCHITECTURE | - This curved one built in the 60s with an apron jutting - Majority of audience on floor close to apron; return of the apron; fan shaped auditorium; sometimes continental seating; sometimes eliminate proscenium arch - Intimate, little bit rounded stage |
| University of Washington Penthouse Theater - 1940 - first one | Arena Stage |
| Hull House in Chicago | polish one of the 1st theater for community-focused purpise vs large scale inspired other little theaters |
| cle playhouse + pasadena playhouse | 1st established little theaters hollywood actors trained at pp CP was 1st multi-theatre |
| neighbprhood playhouse - lower east side of NYC | hot bed of acting ???? this is ig what jeff said created acting school - leading figure = meisner!!!! |
| washington square players | didn't last long - WW1 lolz bandbox theater more experimental Robert Edmond Jones - dramatic imagination |
| Edmond Jones went on to form what | Theater Guild production/design focus |
| provincetown players | playwrighters theater "discovers" eugene o'neill - east bound for cardiff - produce + develop a lot of early eugene o'neill plays |
| funny thing about provincetown players | starts in provincetown duh but later moves to NYC shows year round by 1920, they were profesh producing plays for Bway |
| by 1920 w the little theaters... | most little theater are community theaters 1925 - 2,000 community theaters in US |
| Anne Nichols’s Abie’s Irish Rose (1922) | Had a grillion runs (2,327) - One of the top long-running plays on Broadway |
| what is Abie's Irish Rose about | Simple comedy of what happens when a jewish boy marries an irish girl in secret and then people find out - Theme is true love wins who woulda thunk - No real thinking just like haha i dont understand your culture |
| Little Lord Fauntleroy (1903) | Perfectly behaving boy whatever who cares |
| NEW MELODRAMA | Plots not as far-fetched Characters less stereotypical Dialogue less artificial Humor becomes more prominent |
| TYPE OF PLAYS 1900-1920 | Plays written to amuse Plays offering entertainment with ideas Social comedies |
| Langdon Mitchell - The New York Idea (1906) | This is like the group ABBA.. switch partners - “voulez vous indeed” Except they’re like wait i love my original partner tho meep Idea of casual marriage creeping into society |
| Why Marry? By Jesse Lynch Williams (1918) | Does marriage ruin individualism |
| Romantic Escapist Plays | Ben Hur (1899), Madame Butterfly, The Squaw Man, Kismet |
| Ben Hur (1899) | Someone got killed in this movie and it stayed in |
| David Belasco’s Madame Butterfly (1900) | Yellow face wtb Tragedy of Japan |
| Kismet, The Squaw Man | bastardization and exploitation of culture and people of color |
| Romantic plays with ideas/Civic Drama | Not as escapist, set in strange settings, but romantic ideas share idea - Great Divide falls underneath category - Percy Mackeye (son of Steele) - One of most successful The Scarecrow (1909) --- So the lead is scarecrow so that escapist and also devil |
| what is also going on during the romantic plays with ideas/civic drama | Hack writers cranking out same type of play - age os assembly- line, mass production Plays are easily digested, quickly forgotten, lack artistic, literary merit Still during the syndicate womp womp womp |
| What is expressionism? | Artistic movement chattenging realism; truth not found in external world not in what the five senses record about the outside world; truth is subjective, personal, relative to one's own unique perceptions |
| expressionism x protagonist | the audience is looking at how the protagonist views the world. altered/ distorted outward reality; expressed more of the painter's individual perception than the real - originally paintings Van Gogh/Gauguin - something about Munch's THE SCREAM |
| German expressionists believed WHAT | that the machine age and materialism was dehumanizing humankind; people were turning into uncaring, unfeeling robots; |
| Major German expressionistic plays: | Kaiser's From Morn to Midnight (1916) Toller's Man and the Masses (1921) |
| Characteristics of German expressionistic plays 1 | We see a distorted world, as if we, the audience, are looking out through the eyes of the protagonist. - a reflection of the protagonist's fears, desires, perceptions |
| Characteristics of German expressionistic plays 2 | Heavily thesis-oriented - hits us over head with ideas - Events primarily included to illustrate a world with distorted values - world changes as time conts, very fun but challenging for design |
| Characteristics of German expressionistic plays 3 | Episodic nature - main character is an everyman figure on a search for fulfillment. Quest for meaning in an inhuman world |
| Characteristics of German expressionistic plays 4 | Short, jerky scenes Deliberately written in short, choppy scenes, not long sustained acts - Abrupt starts and stops like a machine |
| Characteristics of German expressionistic plays 5 | Language is short, staccato like a machine Speeches are deliberate cliches Similarity, repetition to suggest that we are losing our individuality |
| Characteristics of German expressionistic plays 6 | Characters lack any individual identity They are robots, automatons Often lack individual names |
| Characteristics of German expressionistic plays 7 | 7. When staged, actors often moved and spoke like robots. Saw elongation of the human form |
| Characteristics of German expressionistic plays 8 | 8. Characters were deliberately costumed identically - lack of individuality |
| Characteristics of German expressionistic plays 9 | Settings were distorted Harsh, sharp, angular, jagged lines Exaggerated shapes and silhouettes Walls tilting inward to smother the Abnormal coloration, colors reflect the individual, claustrophobic protagonist's fears |
| Characteristics of German expressionistic plays 10 | Obsession with death Fascination with the grotesque, Man carrying his head in a sack Trees turning into skeletons the macabre |
| what did expressionism make people aware of | Made pel aware of what diff possibilites of playwriting possible |
| who does a lot of of popular shows in 1920 - 1940 | Jo Mielziner Shows - Takes Edmond Jones and Simonson stuff applies to a more popular theater |
| New Playwrights of Note: | Elmer Rice |
| what did elmer rice write | The Adding Machine (1922) - Horrors of the world created, reflecting a character POV - Love is to show humanity - No melodrama |
| what was the adding machine called | “One of the best examples of American expressionism” |
| what does the development of new stagecraft goal | No longer striving to create the illusion of reality simple, clean, bare, the essentials |
| what did new stagecraft have | UNIVERSAL PLACE - no specific time or place emotion universal SUBJECTIVE - eyes of the artist - unlike realism's scientific objectivity |
| why is there a rise and growth of designer involvement | focus on creation of a mood + feeling unit sets, shadow + light |
| lots of sets and designs are what in the 20s-40s | monochromatic |
| what does new stagecraft allow the audience to have | their own personal interpretation/impression |
| where does the new stagecraft come from | Influenced by Symbolist movement in art, poetry, literature, theatre - a concious rebellion agains realism |
| Art should not be a mere reportage of facts; | Truth shouldn't be measured only by what you can record about the external world with the five senses |
| for this new stagecraft reality = | series of deeply experienced, subconscious, intuitive moments |
| SYMBOLISM | like the new stagecraft subjective, world filtered thru the artist unique subliminal feeligs |
| symbolist plays lack what | plot/story - logical cause-effect relationships big use of puppets, mysterious difficult to articulate theme/time/place |
| what is clear about symbolist plays | Reoccurring symbols, motifs |
| if new stagecraft is so similar to symbolism, is it only used for those kinds of shows? | NO used for a large body of work |
| first major contributors to new stagecraft | Adolf Appia - lights E. Gordon Craig - scenic both want to move theater away from creating the illusion of reality --- instead ESSENCE of the play - return focus to the actor (most important element) |
| how do we get these new stagecraft and european designer ideas to teh US???? | 1. magazines, journals, periodicals - The Drama - The Drama League of America 2. americans go to europe and study, bringing back to US 3. americans import euro productions that are practicing new stagecraft |
| first american designer utilizing the new stagecraft | SAM HUME - american director who went to study with Craig |
| what theater did HUME found | Detroit's Arts and Crafts Society 1916 -1918 - can get a subway sandwich there now |
| other american designers practicing the new stagecraft | Norman Bel Geddes / Robert Edmond Jones (ENGL 47 - book read in classes a lot) / Lee Simonson |
| Commercial Broadway theatre continues to grow/ prosper; | reaches its height in 1928, and begins to decline thereafter 128 shows --> 70 shows |
| number of broadway theaters in the 20s-40s era | 1915 - 20 1927 - 80 (not as restrictive on location + seats as today) 1950 - 30 |
| Could this reduction of activity on Broadway be explained by the | decentralization of theatre that is occurring - the grassroots little theatre movement ? |
| Legitimate Theatres Outside New York | 1915 - 1500 1930 - 500 |
| Why this rapid decline in commercial theatre after 1928? | Stock market crash sound motion pictures (MAJOR) Depression of the thirties Growing power of unions -increasing production costs |
| Commercial Broadway theatre continues to be dominated by mindless, diversionary entertainment | 1922 - 28 Abie's Irish Rose 1933-40 Tobacco Road 1939-47 Life With Father |
| now with musicals we have what supplyin music/lyrics rather than 5-10 sources | one or two individuals supplying music less jukebox like at start, more intentional |
| Typical musical comedy at the turn of the century: | 1. thin plot line to link songs coming from several different sources 2. two-dimensional characterizations (crappy) 3. lavish scenery, special effects 4. memorable songs/ melodies 5. extravagant dance numbers 6. no important message/ideas |
| George M Cohan | uhhhh somehting about his music and family? |
| George and Ira Gershwin | artistic unity beyond demographic differences, really infectious music |
| first big american musical | SHOWBOAT ppl love this af - had a black chorus |
| most prolific producer on bway | Florenz Ziegfeld - sex sells guy, he would love too hot to handle |
| what was the big thing ziegfeld did | Featuring 110 of the World's Most Beautiful Women - all over country, abt 6ft, balance huge hats, artistic nudity |
| in this era there is a greater | blending of culture (cultural appropriation) |
| second big american musical | SHUFFLE ALONG jazz, eubie blake, noble sikel black people onstage Love Song |
| Even though the majority of Broadway is limited to light, cheerful fluff, some Broadway producers are including limited attempts at literary, artistic ventures | Not only musicals and vaudeville |
| Richard Rodgers was born and raised in NYC | Jewish freaking knew it |
| Lorenz Hart | Early gift for poetry |
| this era was the first time people were | listening to lyrics in american broadway musicals |
| Rodgers & Hart shows | Connecticut Yankee Pal Joey |
| Pal Joey | Departure for them and director George Abbott Tawdry nightclub routines about an affair Not light and airy and amusing |
| what made pal joey impoirtant | Was important in turning musical theater into a serious art form |
| part of why rodgers left the duo | Lorenz Hart was an alcoholic |
| great irish theater, version of a free theater | Abbey theater |
| great chinese actor and did some asian works in america | Mei-Lan-Fang |
| considered the best Hamlet | Gielgud’s Hamlet |
| 133 performances of his six hour, uncut Hamlet | Maurice Evans - Richard 2 |
| Continuation of the little theater movement | Non-Commercial and Summer Theatres |
| Groups that form as an alternative to the restrictive commercial broadway theater | to provide opportunities for new, avant-garde plays and staging techniques Looking to discover new playwrights - Broadway more so wanted new musical playwrights |
| Most financially successful and prestigious group | THE THEATRE GUILD |
| what was founded in 1918 by some previous members of the washington square players | THE THEATRE GUILD |
| THE THEATRE GUILD goal | to produce aesthetically mounted, intelligently acted, distinguished plays of artistic merit that the commercial theater ignored - "broadway is a money hog for money" beautiful quote from my notes |
| what was unique abt the theatre guild as this time | Self-supporting organization that utilized a subscription system (bc they need money they’re in NYC) - you trust us wanna see our shows so come give us money please |
| first theatre guild show | The Bonds of Interest - Yikes bad af |
| what did the theater guild do bc suhc bad first show | John Ferguson - On a bank account of $19 - This was a huge hit! - ^^ this success, developed a pertinent career of success |
| what did the theater guild do with their success | - Created own acting company - Altering system (working one show at night, diff during day) |
| what theater did the theater guild build | The Guild Theater - cost around a million dollars |
| theatre guild by 1950 | 67 productions 1926 - 23,000 subscribers now |
| theater guild tries to create a modified version of the moscow art theater | With like a resident company Abandoned in 1927 - due to success of O’Neill’s plays (Strange Interlude) - rather reap the profit of a long run |
| what was george bernard shaw's official american producing organization | Theater Guild |
| what show did the theater guild also do | Gershwin’s Porgy and Bess |
| what affects the theater guild performances | The Depression Thirties - still doing quality productions, but not as often Had to stop touring productions to other cities |
| 1931 - several members break away from the Theatre Guild to start | The Group Theatre |
| 1935 - Theatre Guild loses their own | theater in NYC, have to rent it |
| By 1940, mostly a commercial producer like | the ones initially rebelled against |
| Had a misshapen hand so she always hid it | Eva Le Gallienne |
| what theater producing group did Galliene create that didnt last long | 1926 Civic Repertory Theater - lasted 6 seasons - 7 years, didn't survive the great depresh - really based on the MAT |
| what kind of theater did Galliene want to create | Wanted to reach audiences who couldn't afford broadway prices; provide opportunities to lower classes, working class, students, laborers |
| who joined the Civic Rep Theater that had a more than friends relationships w Eva | Nazimova |
| civic rep second only to what in artistic quality | Theatre Guild, but really only bc the Guild had more money and size - civic rep had 50,000 subs |
| how was Le Gallienne different from the Theatre Guild | only presented master playwrights who have proven themselves |
| why did civic rep decline in great depresh | Became dependent on private contributors that interfered with choice and quality of production |
| Civic Repertory Theatre closes in 1933 in NYC, but | toured around country for two years, but by 1935 closed |
| the group theater vibves maybe hopefully | Communal exercises! training before they came to NYC |
| clurman at the group theater | general manager; history of theater classes |
| crawford at the group theater | administrative tasks |
| straberg at the group theater | unknown - not actually but gryf did not catch it |
| massive success on bway that the group theater did | Men in White - 1933 |
| who does the group theater discover | Clifford Odets - ended up being a gifted playwright |
| what play did Odets write of significance | Waiting for Lefty - 1935 - written to manipulate audiences - bold and unique during era - scenes take place in the past which are way more emotiona; |
| what other play did odets write | Golden Boy |
| dissension in the group theater | Stella Adler - leading actress of the Group Theatre - bc of strasberg and magic and emotion memory |
| Strasberg acknowledged that his method is what | a re-interpretation of Stanislavsky’s System |
| Division brings abount change in 1935: | Clurman takes the lead; main director of the plays Stella Adler now teaches the acting classes Strasberg retires/quits from The Group Theatre Crawford also quits |
| Late Thirties - Group theatre gradually dissolves due to 1: | Factions caused by arguments over Strasberg’s reinterpretation of Stanislavsky |
| Late Thirties - Group theatre gradually dissolves due to 2: | Once a movement for youthful, impatient radicals - dissatisfied with social/ economic order and current theatre scene - no longer the case (they got old and got money so don’t care) |
| Late Thirties - Group theatre gradually dissolves due to 3: | Hollywood and commercial theatre had lured away many of the previous idealists |
| group theater had a famous director who we hate | Elia Kazan - nark!! named communists noooo - one of most famous directors |
| Motion Pictures 1896 | showing films in vaudeville theatres |
| Motion Pictures 1905 | special theatres established to show films to an assembled group - The Great Train Robbery - 1905 - a nickelodeon (short film, cost a nickel) |
| Motion Pictures 1914 | Strand Theatre in NYC seats 3500 people |
| Motion Pictures 1916 | 28,000 movie houses across the nation |
| Motion Pictures BY 1915 | film is exerting influence on theatre film is exerting influence on theatre |
| Does Film strengthen or alter recent developments/trends in theatre? actors | Ensemble vs. Star System Representational vs. Presentational (reality vs performing for audience) Psychological realism vs. theatricality |
| Does Film strengthen or alter recent developments/trends in theatre? theater architecture | Thrust/Arena/Environmental vs. Proscenium |
| Does Film strengthen or alter recent developments/trends in theatre? playwriting | Realism/Naturalism vs. Non-realism Emphasis on visual vs. emphasis on the word |
| Does Film strengthen or alter recent developments/trends in theatre? Directing | Autocrat vs. Actor’s Director |
| Does Film strengthen or alter recent developments/trends in theatre? scenic design | Naturalism vs. New Stagecraft |
Created by:
atallarida