Course Profile Dramatic Arts (ADA4M), Grade 12,
University/College Preparation, Catholic and Public
Unit 2: Beyond Realism
Time: 35 hours
Activity
1 | Activity 2 | Activity
3 | Activity 4
Unit Description
Students research
and explore a variety of theatrical styles, (genres, periods, and forms) other than
realism. These may include: Clowning; Melodrama; Shakespearean; Mime,
Restoration; Comedy; Mask; Thai Shadow Puppets; and Greek Theatre in addition
to three styles selected by the teacher for in-class study. The teacher
presents workshops on three of four styles of theatre and continues to develop
a chart as a visual aid to help students understand the evolution of theatrical
styles and to make comparisons among these styles, examining closely the
different conventions and theatrical devices employed in each. The teacher
chooses to focus on three of the first four activities; Children’s Theatre,
Commedia Dell’Arte, Epic (Brechtian) Theatre, and/or Theatre of the Absurd.
Each workshop includes origins and conventions of the style, sample scenes, and
opportunities for students to apply their knowledge by creatively using text
and improvisational techniques. At the end of each workshop, small groups of
students perform in the particular style being used and get feedback from their
peers. Each workshop has the following components: a warm up activity, a focus
activity, a discussion of the conventions of the style and preparation of
demonstration scenes done in groups, a final reflection on the style and the
addition of the style and its conventions to the chart Appendix 2.1. Students
in groups of four or five independently research one other non-realistic play
and present a scene and report outlining its stylistic elements to the class,
indicating the ways in which the play is indicative of its genre, period, and
social and political milieu.
1. How can a theatrical style be developed by
the use of conventions?
2. How do the conventions of forms beyond
realism convey meaning?
3. How are conventions used in styles of theatre
other than realism?
4. What are the origins of various theatrical
styles and how do styles in the theatre continue to evolve?
(K/U = Knowledge,
T/I = Thinking/Inquiry, C = Communication, A = Application)
|
Activity |
Learning Expectations |
Assessment Categories |
Tasks |
|
1 10 hours |
THV.01, THV.02,
THV.03, TH1.01, TH1.02, TH2.02, CRV.01, CRV.02, CRV.04, CR1.01, CRI.02,
CRI.03, CR1.04, CR1.06, CRI.07, CR2.01, CR2.02, CR2.05, CR2.06, ANV.01,
ANV.02, ANV.03, AN1.01, AN2.01 |
K/U, T/I, |
Children’s Theatre
Workshop: introduction of style, origins, evolution, conventions Scene work Creative
application Learning Log |
|
2 10 hours |
THV.01, THV.02, THV.03,
TH1.01, TH1.02, TH2.02, CRV.01, CRV.02, CRV.04, CR1.01, CRI.02, CRI.03,
CR1.04, CR1.06, CRI.07, CR2.01, CR2.02, CR2.05, CR2.06, ANV.01, ANV.02,
ANV.03, AN1.01, AN2.01 |
K/U, T/I, |
Commedia Dell’Arte
Workshop: introduction of style, origins, evolution, conventions Scene work Creative
application Learning Log Performance |
|
3 10 hours |
THV.01, THV.02, THV.03, TH1.01, TH1.02, TH2.02, CRV.01, CRV.02,
CRV.04, CR1.01, CRI.02, CRI.03, CR1.04, CR1.06, CRI.07, CR2.01, CR2.02, CR2.05,
CR2.06, ANV.01, ANV.02, ANV.03, AN1.01, AN2.01 |
K/U, T/I, |
Epic Theatre Workshop: introduction of style, origins, evolution,
conventions Scene work Creative application |
|
4 10 hours |
THV.01, THV.02,
THV.03, TH1.01, TH1.02, TH2.02, CRV.01, CRV.02, CRV.04, CR1.01, CRI.02,
CRI.03, CR1.04, CR1.06, CRI.07, CR2.01, CR2.02, CR2.05, CR2.06, ANV.01,
ANV.02, ANV.03, AN1.01, AN2.01 |
K/U, T/I, |
Theatre of the Absurd
Workshop: introduction of style, origins, evolution, conventions Scene work Creative
application Learning Log Performance |
|
5 5 hours |
THV.03, TH2.04,
TH3.01, TH3.03, CR1.07, CR1.06, AN1.04, AN1.05, ANI.06, AN1.07 AN2.02 |
K/U, T/I, |
Independent study
unit: seminar presentation and demonstration piece Research report |
Time: 10 hours
The teacher leads students
through an exploration of the stylistic elements of Children’s theatre. This
workshop format is the model used for Activities 1–4 in this Unit. Teachers do
three of the first four Activities and Activity 5, the I.S.U. presentations.
There is a warm up activity, a focus activity, a whole group
discussion/reflection activity, and a main activity, which is a rehearsed
demonstration of ‘work in progress’ in the style. Using a
‘go-with-what-they-know’ strategy, the warm up activity and the focus activity
review the children’s stories with which students are often familiar,
particularly those from Walt Disney’s studios. This is an excellent opportunity
for discussion on gender and Eurocentric bias in our culture. Following these
activities, the workshop’s main activity will introduce students to the rich
variety of international children’s stories and play scripts available to them
from many sources for their demonstration scenes.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
historical and contemporary approaches to acting, directing, and play writing;
THV.02 - describe
how the elements, principles, and techniques of dramatic arts can be applied or
considered when creating, presenting, or analysing theatrical works;
THV.03 - describe
the origins and characteristics of different dramatic forms from a variety of
cultures and periods, including the late twentieth century;
CRV.01 - create and
interpret a variety of characters, using the theories and conventions of
specific acting methods, as well as historical and cultural styles;
CRV.02 - design,
create, and present drama, using an ensemble approach;
CRV.04 - use
technology appropriately to design, create, and present drama;
ANV.01 - evaluate their personal and collective contributions to all
aspects of production, using appropriate dramatic arts terminology;
ANV.02 - analyse and
evaluate theatre presentations, using the terminology of dramatic arts
correctly;
ANV.03 - analyse the
personal, social, and cultural impact of dramatic arts.
Specific
Expectations
TH1.01 - describe
character development within a particular acting theory;
TH1.02 - describe
how specific genres, settings, and periods influence character development;
TH2.02 - describe a
range of movement techniques used to train the body;
CR1.01 - create and
develop a character, using a classical or contemporary style of
characterization;
CR1.02 - convey
character through the effective use of voice and movement techniques;
CR1.03 - apply the
acting theories of a particular practitioner (e.g., Stanislavski, Brecht) to
interpret a character in a script from the practitioner’s period;
CR1.04 - reinterpret
characters, using suggestions or notes provided by the director and peers, and
demonstrating further insight into the characters in subsequent rehearsals and
performances;
CR1.06 - apply a set
of specific criteria in the selection of plays, scenes, or dramatic forms for
presentation;
CR1.07 - research
either a historical or contemporary style of theatre before creating and
presenting a theatre piece in that style;
CR2.01 - demonstrate
an understanding of the tasks and interrelated responsibilities of individuals
in the production of theatre;
CR2.02 - demonstrate
an understanding of the responsibility of all members of a theatre ensemble to
develop and communicate the intended meaning or theme of a dramatic piece;
CR2.05 - describe
the variety of relationships between audience and performer, and apply them in
the creation and performance of a dramatic work;
CR2.06 - use
technology effectively (e.g., sound and lighting effects, computer-assisted
design programs, music, slides, video) to convey mood, tension, and universal
meaning in a production;
AN1.01 - evaluate
the development and presentation of dramatic works, using student-produced
criteria;
AN2.01 - explain how
participation in the theatre fosters self-awareness and awareness of others for
performers, authors, and audiences.
Basic control, concentration,
cooperation, and trust within the regular classroom: interpretation and acting
skills, independent working skills, improvisation skills, script development
skills, active listening skills and collaborative skills.
·
Prepare a large
blank chart of Appendix 2.1 to be posted and filled in with marker pens
·
Locate a synopsis
of conventions of Realistic Theatre (see Appendix 2.6 – Stylistic Elements and
Conventions of the Theatre of Realism)
·
Locate an outline
of the history of theatre in Western Civilization, or a World Theatre History
chart
·
The teacher may
wish to assign the independent study unit early in the course to allow students
the more time to complete it. If so, the teacher should refer to Activity 5
before completing earlier activities.
·
Photocopy
Appendix 2.3 – Generic Performance Rubric for the whole class
·
Locate a variety
of short children’s theatre scenes or scripts or storybooks. The scenes need to
be eight to ten minutes in length
·
Gather colourful
props and costume pieces
·
Photocopy and cut
Appendix 2.2 – Commedia Characters Descriptors and Scenarios into single roles
to hand out and pair scenarios.
·
Prepare cards
with marketplace roles on them for distribution
·
Select and assign
roles before doing Commedia Dell’Arte scenarios according to number and gender
of students
·
Organize the
drama room and resources for students to create marketplace stalls or areas
Strategy 1: Using the Characteristics of Style Chart
The teacher puts a
blank chart on the wall with the categories from Appendix 2.1 along the side.
One student volunteers to record the points made during a whole group
discussion. The teacher reviews with students the conventions of Realistic
Theatre (Appendix 2.6). The teacher may wish to provide an outline of the
history of theatre in western civilization in order to give students a context
for the styles (genres, forms, periods) covered in this unit. The teacher
explains that Realism is a style of theatre and not an exact replica of life.
Strategy 2: Warm up
The teacher puts
students in pairs and instructs them to take turns telling each other a
familiar children’s story as if their audience was a very young child. When
they have finished, the teacher reconvenes the whole group for a discussion of
performance skills necessary for this activity to be successful. The teacher
reminds them of previous units where similar skills and/or techniques were
used, e.g., reader’s theatre, and storytelling.
Strategy 3: Focus Activity: Fairy Tale Improvisation
In small groups,
students decide on a familiar fairy tale. The teacher gives students five
minutes to plan and rehearse a one-minute long presentation of the Fairy Tale.
The teacher side-coaches groups during rehearsal to maintain a focus on what
must be included and what can be left out. When they are ready, the teacher
assigns a timekeeper to call out a five second warning for each group
performing and call time at the one-minute mark. Groups present their work to
the class. The teacher makes observation notes for assessment.
Strategy 4: Adding Conventions to a Fairy Tale
In the same groups,
students prepare their fairy tale again but add three elements that would
enhance the presentation for a young children’s audience. This time the fairy
tale will be five to six minutes long. The teacher gives them 15-20 minutes to
plan and rehearse. Again, the teacher side coaches to help the students add the
elements in an effective way. When they are ready, each group presents. No time
keeper is necessary this time.
Strategy 5: Whole Group Reflection
Using the blank
chart and a volunteer student recorder, the teacher leads a reflective whole
group discussion about conventions used in the presentations and the
conventions of Children’s Theatre. The teacher refers to Appendix 2.1 as a
resource. Students copy down the chart information in their learning log. The
teacher leads the students in a discussion of the types of moral and social
messages these fairy tales convey to children. The teacher asks how well these
fairy tales have helped children understand the world and to see themselves
reflected in the stories. Students suggest what would be helpful to include in
stories/scripts that are aimed at children in terms of both form and content.
The teacher discusses with the students whether or not Children’s Theatre
should be considered a style on its own or whether any style can be adapted for
a young audience. Student discussion will reveal the depth of understanding of
the conventions of this and other styles.
Strategy 6: Main Activity: Demonstration Scene
The teacher distributes to students in groups of four to six a number of short children’s theatre scenes or scripts (8–10 minutes in length) taken from a variety of multicultural and bias sensitive resources. The teacher reminds students that not all conventions can be covered in each scene. The teacher negotiates with the class a list of conventions of the style that can be demonstrated in this project. The teacher instructs the students to prepare the short play or script for a children’s audience. S/he specifies an audience age for each group. Students need not memorize lines but must be familiar enough with them to maintain the flow of the performance. Resources such as costumes, simple props, and music could be used since these are an important part of this style. The teacher distributes copies of Appendix 2.3 – Evaluation Rubric for Workshop Presentation and reviews it with the whole group before small groups begin rehearsals. Students may use this rubric as a guide for peer coaching during rehearsals.
Strategy 7: Rehearsal
Students are given at least two hours for rehearsal and preparation time. The teacher observes and assesses learning skills during rehearsal.
Strategy 8: Presentation
Each group presents and is evaluated by the teacher using Appendix 2.3 – Evaluation Rubric for Workshop Presentations.
Strategy 9: Reflection
Using the
evaluation rubric, the teacher leads a class discussion on what the students
learned about this style. After the whole group discussion, students write
their personal answers to the following reflection questions in their learning
log:
1. What was successful about the application of
conventions to your presentation?
2. What was the most effective use of a convention
of Children’s Theatre used by another group?
3. What other conventions would you add to
further enhance your group’s performance if you could further develop the
script?
4. What was your best moment during either the
rehearsals or the performance? Why?
5. What about this style do you enjoy/not enjoy?
Why?
6. Why do you think the conventions of
Children’s Theatre evolved as they did?
7. To what extent was your group successful in
creating a typical piece of Children’s Theatre and what role did the use of
conventions play in your group’s success?
·
Appendix 2.3 –
Evaluation Rubric for Workshop Presentation
·
Teacher
observation for assessment and feedback to students is ongoing
·
Learning log
·
Adjust placement
near the large chart, use large lettering, assign a peer to take notes for low
vision students or provide student with his/her own copy of the completed chart
in large type
·
Provide a copy of
peer or teacher notes to allow student to focus on listening.
·
Provide
instructions visually and verbally.
·
Pair students to
check work.
Friedlander,
Mira and Wayne Fairhead, eds. TYA5: Theatre for Young Audiences.
Toronto. Playwrights Canada Press, 1999. ISBN 0-88754-577-7
Watts, Irene
N. Just A Minute: Ten Short Plays and Activities for Your Classroom.
Markham. Pembroke Publishers Ltd, 1990. ISBN 0-921217-53-6
Wing, Paula,
Maristella Roca, and Paul Lazarus. Ypthree-Three Plays from Young People’s
Theatre. Toronto. Playwrights Canada Press, 1994. ISBN 0-88754-475-4
Wood, David and Janet Grant. Theatre for Children: A Guide to Writing, Directing and Acting. London. Faber and Faber, 1997. ISBN 0-571-17749-2
Children’s Theatre –
www.childrenstheatreplays.com
Folktales of
the World – www.geocities.com/zine_5/folktales.htm
Playwrights Union of
Canada – http://www.puc.ca
Time: 10 hours
The teacher leads
students through an exploration of the Commedia Dell’Arte style of theatre. The
warm up is an improvisation of a 17th century marketplace in Europe followed by
a focus activity which is a Stock Character Walkabout and a two-part main
activity to demonstrate the Commedia convention of lazzi and improvised
script/performance.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
historical and contemporary approaches to acting, directing, and play writing;
THV.02 - describe
how the elements, principles, and techniques of dramatic arts can be applied or
considered when creating, presenting, or analysing theatrical works;
THV.03 - describe
the origins and characteristics of different dramatic forms from a variety of
cultures and periods, including the late twentieth century;
CRV.01 - create and
interpret a variety of characters, using the theories and conventions of
specific acting methods, as well as historical and cultural styles;
CRV.02 - design,
create, and present drama, using an ensemble approach;
CRV.04 - use
technology appropriately to design, create, and present drama;
ANV.01 - evaluate
their personal and collective contributions to all aspects of production, using
appropriate dramatic arts terminology;
ANV.02 - analyse and
evaluate theatre presentations, using the terminology of dramatic arts
correctly;
ANV.03 - analyse the
personal, social, and cultural impact of dramatic arts.
Specific
Expectations
TH1.01 - describe
character development within a particular acting theory;
TH1.02 - describe
how specific genres, settings, and periods influence character development;
TH2.02 - describe a
range of movement techniques used to train the body;
CR1.01 - create and
develop a character, using a classical or contemporary style of
characterization;
CR1.02 - convey
character through the effective use of voice and movement techniques;
CR1.03 - apply the
acting theories of a particular practitioner (e.g., Stanislavski, Brecht) to
interpret a character in a script from the practitioner’s period;
CR1.04 - reinterpret
characters, using suggestions or notes provided by the director and peers, and
demonstrating further insight into the characters in subsequent rehearsals and
performances;
CR1.06 - apply a set
of specific criteria in the selection of plays, scenes, or dramatic forms for
presentation;
CR1.07 - research
either a historical or contemporary style of theatre before creating and
presenting a theatre piece in that style;
CR2.01 - demonstrate
an understanding of the tasks and interrelated responsibilities of individuals
in the production of theatre;
CR2.02 - demonstrate
an understanding of the responsibility of all members of a theatre ensemble to
develop and communicate the intended meaning or theme of a dramatic piece;
CR2.05 - describe the
variety of relationships between audience and performer, and apply them in the
creation and performance of a dramatic work;
CR2.06 - use
technology effectively (e.g., sound and lighting effects, computer-assisted
design programs, music, slides, video) to convey mood, tension, and universal
meaning in a production;
AN1.01 - evaluate
the development and presentation of dramatic works, using student-produced
criteria;
AN2.01 - explain how
participation in the theatre fosters self-awareness and awareness of others for
performers, authors, and audiences.
Basic control,
concentration, and trust within the regular classroom: interpretation and
acting skills, independent working skills, improvisation skills, script
development skills, active listening skills, and collaborative skills.
·
Prepare a large
blank chart of Appendix 2.1 to be posted and filled in with marker pens.
·
Photocopy
Appendix 2.3 – Evaluation Rubric for Workshop Presentations for the whole
class.
·
Gather colourful
props and costume pieces.
·
Photocopy and cut
Appendix 2.2 – Commedia Characters Descriptors and Scenarios into single roles
to hand out and pair scenarios.
·
Prepare cards
with marketplace roles on them for distribution.
·
Select and assign
roles before doing Commedia Dell’Arte scenarios according to number and gender
of students (Appendix 2.2).
·
Organize the
drama room and resources for students to create marketplace stalls or areas.
·
Organize bags of
colourful costumes, hats, masks and props such as play money, scrolls,
slapsticks, fans, fake noses, fake flowers.
Strategy 1: Commedia Dell’Arte Introduction
The teacher
describes the typical marketplace in a European city in the 1600s including a
reminder of the itinerant theatre troupes, minstrels, and troubadours that were
an important part of the oral traditions of the time. S/he organizes students
in pairs or small groups and gives each a role card indicating such roles as
magician, inventor, beggar with announcer, false medicine salesman, false
prophet, or other product vendors. The teacher tells the students their
objective during the following improvisation is to try to get money from as
many people as possible. The teacher tells them they are to imagine they are
selling to an audience of as many as a thousand and to make themselves heard
above the din of the market. The teacher further asks students to find a place
in the room to set up as their ‘stall’ and use what resources they can find in
the classroom (chairs, tables, bags) to enhance their role and/or stall. The
teacher encourages the students to discuss what each group is going to do to
grab the market people’s attention, e.g., acrobatic, singing, indulgences. The
teacher gives students 10-15 minutes to prepare.
Strategy 2: Improvisation
Once students are
ready, the teacher has them all perform at once while s/he circulates and
observes. After a few minutes of improvisation, the teacher gives the students
feedback to help improve their roles. The whole group begins a second round of
improvisations. This time the teacher asks each group to perform while the rest
of the class becomes the audience at the market. The teacher tells the class to
circulate with him/her and when they come to each stall, it will be that
group’s turn to present. Each group gets a chance to present.
Strategy 3: Reflective Discussion
Using the following questions, the teacher leads the class in a
debriefing discussion.
· How did you grab people’s attention?
· How did you make the money you were going to make important to your group? For example, help pay for a night’s lodging.
· How many groups had stereotypes emerge?
· Why might this happen in this style of theatre?
The teacher
points out the similarities between the bold antics of the groups and Commedia:
in the open air; driven by love of money (in this case); willing to use devious
methods/trickery; improvised; bodily expression; bold playing style; farcical;
joyous; fast paced; frenzied; economical.
While having a volunteer
student recorder fill in the conventions chart on the wall, the teacher
outlines the conventions of Commedia Dell’Arte by referring to Appendix 2.1.
Strategy 4: Focus Activity: Walkabouts in Role
Referring to
Appendix 2.2 – Commedia Workshop Market Place Roles or other suitable resource
listing the characteristics of Commedia Dell’Arte characters, the teacher
introduces the stock characters and coaches students through a walkabout in the
role of each character, starting with Pantalone. As the students walk about the
room, the teacher calls out one descriptor at a time, giving the students a
chance to add each descriptor to their walk as it is introduced. Where masks
and costume pieces are available, they can be used to enhance this process.
Strategy 5: Scene Preparation in Pairs
The teacher
distributes the pairs scenario activity in Appendix 2.2. The teacher explains
the assessment criteria that the students will be using. In pairs, students
prepare their stock character scenarios for presentation. They rehearse for
15–25 minutes while the teacher side-coaches for plot development and
characterization.
Strategy 6: Presentation and Peer Assessment
Students present
their scenarios as works in progress. Peers assess each other’s work using the
following criteria: stock characters used; exaggerated voice; exaggerated
gesture; establishment of location; escalation of problem; resolution of
problems. Peers give feedback for each criteria in term of limited, making
progress or excellent and explain their choice.
Strategy 7: Main activity: Lazzi scenarios
The teacher explains
the concept and characteristics of lazzi and asks students to suggest lazzi
activities that they imagine might match the stock characters. The teacher asks
students in groups of three, to decide what three Commedia characters they will
play and together decide what lazzi they can devise for these characters, e.g.,
cure for toothache. Students prepare to share their lazzi as works in progress.
The work shared will be three minutes in length and demonstrate the
characteristics of a lazzi and of the stock characters.
Strategy 8: Presentation and Discussion
Students in groups
present lazzi to the class. The teacher leads a whole class discussion on how
well the groups met the criteria for lazzi.
Strategy 9: Main Activity: Improvised Commedia Scenarios
or Scripts
The teacher instructs the students to form
small groups and prepare a short Commedia Dell’Arte scenario for presentation
to the class. S/he distributes a photocopy of a scenario from Appendix 2.2 –
Commedia Character Descriptors and Scenarios to each group. Each student must
play one Commedia Dell’Arte character, with clear intention and a role in the
plot. The teacher reminds students that not all conventions can be covered in
each scene. The teacher negotiates with the class a list of conventions of
Commedia Dell’Arte that can be demonstrated in this project. Students need not
memorize lines but must be familiar enough with them to maintain the flow of
the performance. Resources such as costumes, simple props, masks, and music
could be used since these are an important part of this style. The teacher
reviews Appendix 2.3 – Evaluation Rubric for Workshop Presentations with the
whole group before small groups begin rehearsals.
Strategy 10: Rehearsal
Students are given
at least two hours for rehearsal and preparation time. The teacher observes and
assesses learning skills during rehearsal.
Strategy 11: Presentation
Each group presents
its Commedia Dell’Arte scene and is evaluated by the teacher using Appendix
2.3.
Strategy 12: Reflection
Using the evaluation
rubric, the teacher leads a class discussion on what the students learned about
this style. After the whole group discussion, students write their personal
answers to the following reflection questions in their learning log:
·
How did the
conventions influence the way you created your presentation?
·
List as many
conventions of Commedia Dell’Arte as you can, including a definition of a
lazzo.
·
What was the most
effective use of a convention of Commedia Dell’Arte by another group?
·
What other
conventions would you add to further enhance your group’s performance if you
could further develop the script?
·
What was your
best moment during either the rehearsals or the performance? Why?
·
What about this
style do you enjoy? Why?
·
What about this
style do you not enjoy? Why?
·
Why do you think
the conventions of Commedia Dell’Arte evolved as they did?
·
What other forms
of non-realistic theatre or realistic theatre, film, or television remind you
of Commedia Dell’Arte?
·
To what extent
was your group successful in creating a typical piece of Commedia Dell’Arte and
what role did the use of conventions play in your group’s success?
·
Appendix 2.3 – Evaluation
Rubric for Workshop Presentations
·
Teacher
observation for assessment and feedback to students is ongoing
·
Peer assessment
using teacher-defined criteria.
·
Learning logs:
students written work is reviewed in the portfolio for completion, assessment,
and feedback.
·
Provide a copy of
peer or teacher notes to allow student to focus on listening
·
Provide
instructions visually and verbally
·
Provide
assistance when groups are casting the roles in their scenarios to match roles
to students’ abilities and strengths.
Rudlin,
John. Commedia dell’Arte: An Actor’s Handbook. London: Rutledge, 1994.
ISBN 0-41504770-6
Rolfe, Bari.
Commedia dell’Arte: A Scene Study Book. Oakland, California:
Personabooks, 1977.
(Out of print but an excellent resource if one is available)
Bert,
Norman, ed. Theatre Alive! An Introductory Anthology of World Drama.
Colorado Springs, Colorado: Meriwwether Publishing Ltd., 1994. ISBN 0916260747
Meta-Physical
Theatre, Att. David Langlois, P.O. Box 404, Station C, Toronto, On,
M6J 3P5. D. Langlois
Commedia
Dell’Arte – www.comediadell’arte.com
Commedia Dell’Arte –
www.judith@commediadell’arte.com
Time: 10 hours
The teacher leads
students through an exploration of the Epic or Brechtian style of theatre. The
warm up involves an analysis of storytelling as the root of theatre followed by
a focus activity wherein students add Brechtian elements to the story of a
mother’s struggle with modern life. The main activity is the development of an
Epic style presentation developed from improvisations around a social issue.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
historical and contemporary approaches to acting, directing, and play writing;
THV.02 - describe
how the elements, principles, and techniques of dramatic arts can be applied or
considered when creating, presenting, or analysing theatrical works;
THV.03 - describe the
origins and characteristics of different dramatic forms from a variety of
cultures and periods, including the late twentieth century;
CRV.01 - create and
interpret a variety of characters, using the theories and conventions of
specific acting methods, as well as historical and cultural styles;
CRV.02 - design,
create, and present drama, using an ensemble approach;
CRV.04 - use
technology appropriately to design, create, and present drama;
ANV.01 - evaluate
their personal and collective contributions to all aspects of production, using
appropriate dramatic arts terminology;
ANV.02 - analyse and
evaluate theatre presentations, using the terminology of dramatic arts
correctly;
ANV.03 - analyse the
personal, social, and cultural impact of dramatic arts.
Specific
Expectations
TH1.01 - describe
character development within a particular acting theory;
TH1.02 - describe
how specific genres, settings, and periods influence character development;
TH2.02 - describe a
range of movement techniques used to train the body;
CR1.01 - create and
develop a character, using a classical or contemporary style of
characterization;
CR1.02 - convey
character through the effective use of voice and movement techniques;
CR1.03 - apply the
acting theories of a particular practitioner (e.g., Stanislavski, Brecht) to
interpret a character in a script from the practitioner’s period;
CR1.04 - reinterpret
characters, using suggestions or notes provided by the director and peers, and
demonstrating further insight into the characters in subsequent rehearsals and
performances;
CR1.06 - apply a set
of specific criteria in the selection of plays, scenes, or dramatic forms for
presentation;
CR1.07 - research
either a historical or contemporary style of theatre before creating and
presenting a theatre piece in that style;
CR2.01 - demonstrate
an understanding of the tasks and interrelated responsibilities of individuals
in the production of theatre;
CR2.02 - demonstrate
an understanding of the responsibility of all members of a theatre ensemble to
develop and communicate the intended meaning or theme of a dramatic piece;
CR2.05 - describe
the variety of relationships between audience and performer, and apply them in
the creation and performance of a dramatic work;
CR2.06 - use
technology effectively (e.g., sound and lighting effects, computer-assisted
design programs, music, slides, video) to convey mood, tension, and universal
meaning in a production;
AN1.01 - evaluate
the development and presentation of dramatic works, using student-produced
criteria;
AN2.01 - explain how
participation in the theatre fosters self-awareness and awareness of others for
performers, authors, and audiences.
·
Photocopy
Appendix 2.3 – Evaluation Rubric for Workshop Presentations
·
Locate some
resources that have a photo of Brecht to show students
·
Gather some
clippings or newspapers which contain interesting articles on social profiles
and issues that would interest students
·
Check lighting
for technical performance, bring sound and other technical equipment to classroom
·
Get some drums or
musical instruments for song work
Strategy 1: Brecht Workshop: Analysing the Telling of a
Story
The teacher instructs the class to observe carefully while s/he tells a story so that an analysis of the story can be done after the telling is completed. The teacher then tells a story in the first person, no longer than one minute, in which s/he recounts an incident such as a traffic mishap or confrontation that s/he witnessed. The teacher uses gesture, facial expression and steps in and out of the roles of one or more characters in the story while telling it to the class. After completing the storytelling, the teacher leads a whole group discussion framed around the following questions: Was this theatre? Why or why not? How many characters did I play? What elements of acting did I use? Did I try to create the illusion that the story was actually happening now? At any time, did you believe that I was someone other than myself?
The teacher then explains that this type of non-illusionistic storytelling is at the heart of Brechtian theatre.
The teacher now asks
for two student volunteers to retell the teacher’s story to the class. Both
students will tell the story of how the teacher told the story. The first
student will tell his or her version with an attitude of disbelief and the
second will tell it with an attitude of belief and support for the truth
revealed by the teacher. After these versions of the story have been presented
to the class, the teacher leads a discussion framed around the following
questions: How did the story change in order for the teller to convey an
attitude toward the original version? How has the retelling changed some
details from the original? Was any deliberate theatricality used to enhance a
particular detail in the story?
Strategy 2: Improvisation on a Social Issue: Motherhood
In pairs, students create an improvisation in a serious realistic style that focuses on a single divorced mother, Laura, who is trying to balance her responsibilities at work with her role of mother at home. This mother is the CEO of a large corporation that is down-sizing. She has two children at home, a 14-year-old daughter Mary and a 12-year-old son Luke. She loves her children dearly and she does her best to ensure that she is there for them. Lately, however, she has had to work longer hours. As a result, she missed her daughter’s soccer game and was not able to cook dinner this week. Students choose one of the following scenes to improvise:
· Laura talking to her ex-husband about taking the kids more often
· Laura consulting with an agency that provides nannies
· Laura at work confiding in a peer she trusts to give her reasoned advice
· Laura speaking to her physician about her escalating blood pressure
· Laura’s children talking to each other about moving in with their father
Strategy 3: Explanation of Epic Theatre’s Distancing
Devices
The teacher explains
how Brecht developed a new style of theatre, which differed from Stanislavski’s
psychological approach. Brecht wanted audiences to understand that his
characters were a product of their social class and environmental
circumstances. He wanted to jar the audience into thinking about what they were
watching by presenting them with an entirely different form of theatre. By
experimenting with new conventions, he moved playwriting and viewing from its
accepted forms into a completely new style of theatre. Brecht wanted the
audience to examine the actions his characters chose to take as a necessary
choice coming from their particular time and place in history. By going beyond
entertaining a passive audience, he wanted to distance his audience, forcing
them to become thinking spectators who take action to change social and
political circumstances. Some of the techniques of deliberate theatricality
that he used were: a narrator, banners with slogans, lights up in the audience,
music, drumming, poems, unresolved endings, songs and characters coming out of role
to address the audience directly. Brecht also played with interrupting and
changing the sequencing of events.
Strategy 4: Scene Re-Play Using Narrator
The teacher
asks students to select some of the scenes previously performed about
Motherhood. Working in groups of three, students are to re-structure their
previous scene but add another student in the role of narrator who comments on
the action in the scene, thereby transforming it into one that is Brechtian in
style.
The teacher asks a student to write the following narrator’s lines on the board:
“I am about to tell you the story of a superwoman. This superwoman is caught between being a single mother and being a successful CEO in a large corporation. Examine carefully the way that she behaves at home and at the workplace. Notice even how she chops the carrots at home and how she deals with the aggressive marketing manager at work. Look carefully and question everything she does. Ask yourselves if this is necessary. I ask you to look beneath the surface of this behaviour. Scrutinize the demands society has placed on this woman and ask yourself ‘Can this be changed?’”
The teacher asks
students to alter the scene to accommodate this narration and to accentuate
important elements in their scene using deliberate theatricality. Student
groups present their scenes. After viewing the scene, re-play with narration
included. In their Learning logs students explain the effects that this
narration and the theatrical devices had on it and compare and contrast the first
and second versions of the scenes.
Strategy 5: Whole Group Discussion and Improvisation on
Sequencing of Events
Discuss with students movies that they have seen which did not show events in chronological order. What effect did this have on them as viewers? How does this make an audience think? Have students form new groups of five and re-visit Laura’s story by creating a story that goes into her imagined future and which does not have a happy ending. Show Laura at 40, Laura at 50, Laura as a senior citizen. Have students take three events in the life of Laura and re-sequence them so that they are not chronological. Create a series of still images that are representative of snap shots in Laura’s photo album of her life. The actor playing Laura can come in and out of her role to talk directly to the audience about how her life evolved, and what happened to her company, her children, and herself.
Present these scenes
and record in the learning log the effect that the re-ordering of events has on
the audience. The teacher refers the class to Brecht’s play, Mother Courage,
about a single mother caught in the 30 Years War (1618–1648) who feeds her
children by selling everything she could out of her canteen wagon.
Strategy 6: Improvised Scene on Social Issue
Ask students to list
the social issues of concern to them today. The teacher lists on the board some
social issues that concerned Brecht from the 1930s to 1956 such as class
struggle, the struggle to be a moral person in a corrupt world, and the
struggle to be a good mother during war. The teacher asks students to indicate
which of Brecht’s issues are also of concern to them. Students form groups of
five and come to a consensus as to which issue is of greatest concern to their
group. Students then decide on five distinct characters caught in a particular
situation and select one or two of the characters that will come out of their
role to speak directly to the audience. Students then agree on the three or
four most dramatic still images that would most clearly reflect this issue.
Students bring a few of the still images to life in slow motion and pick
moments to freeze the action. Here one or two characters step out of the still
image to address the audience directly to explain their particular situation.
Characters(s) may also re-enter the scene and refer to the frozen characters as
they speak of their social situation. Students share these scenes and reflect
on the following questions: What effect was gained by starting and stopping the
action? Did the narrator make the audience think more about the social issue
than they would have without a narrator?
Strategy 7: Filling in the Characteristics of Style
Chart
The teacher asks a student recorder to fill in the column of the chart on Brechtian Epic Theatre while s/he explains its stylistic characteristics. Students copy this in their chart for their learning log.
Reflection questions
are:
· What does the word Epic mean to you?
· What did Brecht hope to accomplish by creating this kind of theatre and what was it a response to?
· How are the arts affected by world events?
Strategy 8: Rehearsal of Brechtian Scenes
The teacher hands out Brechtian scenes and refers students again to the performance rubric Appendix 2.3 explaining to the class that they are going to workshop a Brechtian piece and alter it slightly from the original. Students may create a new version of this scene by making slight alterations and additions. They are encouraged to add things such as a poem or song or narrator to heighten the audience’s awareness of the plight of their characters in the social situation. Students are given enough time to shape these for workshop presentations. The teacher confers with each group during rehearsals asking the following questions:
·
What is the
central social issue of your scene?
·
What is the
central moment you chose to focus on?
·
What choices did
you make to draw attention to the central moment?
·
List three
questions about the social issue or theme that you want the audience to consider.
·
What three
Brechtian techniques did you employ to pose these questions to the audience?
The teacher
records observation about each group’s answers for assessment.
Strategy 9: Brechtian Workshop Presentation
Students present
their scenes to the class or an invited audience from beyond the class.
The teacher
evaluates students using Appendix 2.3 – Evaluation Rubric for Workshop
Presentations.
Extension/Enrichment
·
Students studying
music could compose music for one or more of the poems/songs in a Brecht play.
·
Music students
could also investigate the writing of the Three Penny Opera and play some of a
recording of this for the class.
·
Students read a
full-length play written by Brecht and present an oral summary of it to the
class.
·
Appendix 2.3 –
Performance Rubric for Workshop Presentations and learning log
Jones, David
Richard. Great Directors at Work: Stanislavski, Brecht, Kazan, Brook.
University of California Press, 1986. ISBN 0-52006174-8
Willett,
John. Brecht on Theatre. New York: Hill and Wang, 1957. ISBN
0-8090-0542-5
Boal,
Augusto, Games for Actors and Non-Actor. England: Routledge, 1992. ISBN
0-415-06154-7
Hartnoll,
Phyllis. The Theatre Revised Edition. England: Thames and Hudson, 1985.
Neelands,
Jonathan, Dobson, Warwick. Drama and Theatre Studies at AS/A Level.
England: Hodder and Stoughton, 2000. ISBN 0 340 75860 0
Perry, John.
Encyclopedia of Acting Techniques. Malaysia: Quarto Publishing plc. ISBN
1-55870-456
biographical
information – http://www.imagi-nation.com/moonstruck/clsc15.htm
comments on
Brecht plays – http://www.kirjasto.scifi/brecht.htm
comments on
Brecht plays – http://www.bssd.ac.uk/bssd/techreh.htm
specific comments on
Mother Courage – http://www. bssd.ac.uk/bssd/techreh.htm
Time: 10 hours
The teacher leads
students through an exploration of the Theatre of the Absurd style of theatre.
The warm up involves a look at the philosophical basis for the form followed by
a focus activity wherein students explore the use of text as an absurd and
meaningless element in a scene. The main activities involve an exploration of
absurd text and the creation of a short absurd piece of theatre using the
conventions of the form. Peer coaching and assessment using student-developed
criteria are used.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.01 - describe
historical and contemporary approaches to acting, directing, and play writing;
THV.02 - describe
how the elements, principles, and techniques of dramatic arts can be applied or
considered when creating, presenting, or analysing theatrical works;
THV.03 - describe
the origins and characteristics of different dramatic forms from a variety of
cultures and periods, including the late twentieth century;
CRV.01 - create and
interpret a variety of characters, using the theories and conventions of
specific acting methods, as well as historical and cultural styles;
CRV.02 - design,
create, and present drama, using an ensemble approach;
CRV.04 - use
technology appropriately to design, create, and present drama;
ANV.01 - evaluate
their personal and collective contributions to all aspects of production, using
appropriate dramatic arts terminology;
ANV.02 - analyse and
evaluate theatre presentations, using the terminology of dramatic arts
correctly;
ANV.03 - analyse the
personal, social, and cultural impact of dramatic arts.
Specific
Expectations
TH1.01 - describe
character development within a particular acting theory;
TH1.02 - describe
how specific genres, settings, and periods influence character development;
TH2.02 - describe a
range of movement techniques used to train the body;
CR1.01 - create and
develop a character, using a classical or contemporary style of
characterization;
CR1.02 - convey
character through the effective use of voice and movement techniques;
CR1.03 - apply the
acting theories of a particular practitioner (e.g., Stanislavski, Brecht) to
interpret a character in a script from the practitioner’s period;
CR1.04 - reinterpret
characters, using suggestions or notes provided by the director and peers, and
demonstrating further insight into the characters in subsequent rehearsals and
performances;
CR1.06 - apply a set
of specific criteria in the selection of plays, scenes, or dramatic forms for
presentation;
CR1.07 - research
either a historical or contemporary style of theatre before creating and
presenting a theatre piece in that style;
CR2.01 - demonstrate
an understanding of the tasks and interrelated responsibilities of individuals
in the production of theatre;
CR2.02 - demonstrate
an understanding of the responsibility of all members of a theatre ensemble to
develop and communicate the intended meaning or theme of a dramatic piece;
CR2.05 - describe
the variety of relationships between audience and performer, and apply them in
the creation and performance of a dramatic work;
CR2.06 - use
technology effectively (e.g., sound and lighting effects, computer-assisted
design programs, music, slides, video) to convey mood, tension, and universal
meaning in a production;
AN1.01 - evaluate
the development and presentation of dramatic works, using student-produced
criteria;
AN2.01 - explain how
participation in the theatre fosters self-awareness and awareness of others for
performers, authors, and audiences.
·
Photocopy some
short scenes from absurdist plays.
·
Photocopy 2.5 –
Evaluation Rubric for Workshop Presentations.
·
Find art books,
slides, or art reproductions that have prints of famous visual art works which
could be connected with Theatre of the Absurd. (e.g., Salvador Dali’s Persistence
of Memory, Picasso’s Guernica, Munch’s The Scream). Consult
the visual arts teacher for advice and resources.
·
Arrange theatre
lights and other technical resources to create atmosphere for scenes.
Strategy 1: Theatre of the Absurd Introduction
The teacher
introduces theatre of the absurd through a discussion of the following questions:
Have you ever felt that some things in life do not make any sense to you? What
have you noticed about life that makes it appear absurd? The teacher then
explains how some playwrights began to write plays that expressed this core
idea. Because they were reacting to a pessimistic, dark view of the universe
where things seemed meaningless, they began to write plays that were shaped in
a new way. Some plays were comic in tone and some tragic, and some combined the
two. The critic Martin Esslin coined the term Theatre of the Absurd in 1961 to
draw attention to the similarities in a number of later twentieth century plays
that fused their darker existentialist view with the absurd form of the plays
themselves. Some of the playwrights who generated plays in various versions of
this style were Samuel Beckett, Eugene Ionesco and, later, Edward Albee and
Harold Pinter.
Strategy 2: Improvisation Games and Reflection
The teacher asks the class to get into pairs. The teacher lists some
paired words on the board and asks students to create an improvised dialogue
using only these two words. Paired words could be: yes/no, up/down, on/off,
in/out, red/green, yes/no. Other paired words could be added where the pair has
no logical connection such as carrot/dog, apple/radio, cup/scissors, etc.
Students present dialogue and a discussion follows asking students to think
about meaning and how audiences try to make sense of a repetition of words. The
teacher asks the students to work in new pairs as if they are playing a rigorous
game of tennis. Players agree on a theme, such as sports, colours, name brands
or types of clothing, and select words that relate to that theme. They are to
‘bat’ words back and forth as quickly as possible.
The first person to falter loses the set and the game begins again with a new
theme or idea. Player A begins by “batting” a question to B, and B must respond
with a different question. If either player answers the question with a
statement, the game is over. The teacher extends the game by setting fours
together (two pairs) for mixed doubles. A discussion follows to reflect on the
idea of energy with language and what happens to energy when a player pauses.
Strategy 3: Role Play and Whole Group Discussion
The teacher asks for
two volunteers who wish to role play as two different philosophers. Role
players are told that they have just met in a café in Paris after the First
World War and they are discussing their perceptions of life at this time. Role
player 1 is quite optimistic about the future and role player 2 sees only doom
and gloom ahead. The student volunteers improvise the scene. A teacher-led
discussion follows, which allows students to discover the relationships of
world history to the emerging philosophies and art styles that grew out of them.
Existentialism was one such philosophy and Dada, Surrealism, and Expressionism
are examples of visual art styles that emerged from it.
Strategy 4: Working with Text
The teacher provides
students with selections of Absurdist scripts. Students select different short
scenes to read, form small groups, and begin experimenting with different
rehearsal techniques. Students begin to rehearse their scenes while the teacher
functions as a rotating coach to encourage each group of actors to understand
and experiment with the aspects of the style through the rehearsal process.
Depending on these selections, experiments could link to the following authors:
·
Ionesco –
exaggerate manners through gestures to increase comic effect
·
Pinter –
experiment with pauses of different duration to increase tensions
·
Beckett – imagine
a dark atmosphere, which comes closer as the scene proceeds
·
Albee – make the
environment/setting an important focus in the scene
Strategy 5: Filling in the Characteristics of Style
Chart Column on Theatre of the Absurd
The teacher works
with the students filling out the chart that lists the stylistic elements
listed in Appendix 2.1 of the Absurdist Style of Theatre.
Strategy 6: Main Activity: Playing Scenes from Theatre
of the Absurd
The teacher
instructs the students to form small groups and prepare a short Theatre of the
Absurd scene for presentation to the class. Students check the chart to see
that their scenes incorporate at least three of these stylistic elements. The
teacher reminds students that not all conventions can be covered in each scene.
The teacher negotiates with the class a list of conventions of Theatre of the
Absurd that can be demonstrated in this project. Each scene should make a
statement about the limited ability of humans to understand each other and must
involve a disagreement about lunch, a happy wanderer who can’t move, and a
fish. Students need not memorize lines but must be familiar enough with them to
maintain the flow of the performance. Resources such as symbolic props could be
used since these are an important part of this style. The teacher instructs
students to use lighting, sound or other available technology as part of their
scene. The teacher reviews the list of criteria used for peer assessment of Commedia
scenes and guides the whole group in the creation of an adapted version with
new assessment criteria for Theatre of the Absurd scenes before small groups
begin rehearsals. Students peer coach and assess each other’s works in progress
using their own criteria.
Strategy 7: Rehearsal
Students are given
at least two hours for rehearsal and preparation. The teacher observes and
assesses learning skills during rehearsal.
Strategy 8: Presentation
Each group presents
its Theatre of the Absurd scene and is evaluated by the teacher using Appendix
2.3.
Strategy 9: Reviewing Presentations
The teacher gives
constructive criticism on the work viewed and points out any stylistic elements
missed. Students then write a review in their learning log of two contrasting scenes
they watched using criteria developed during the discussion. They identify the
Absurdist elements present in these scenes and comment on their dramatic
effect.
Strategy 10: Learning Log
These questions are
written on the board to be answered in the learning log:
·
What world events
and philosophies lead writers to create absurd plays?
·
What are some
forms and conventions in Theatre of the Absurd?
·
How do we find
meaning in these plays and do you think they still speak to us today?
Extension/Enrichment
·
The teacher asks
students to look through art books for paintings that show different emergent
styles such as Expressionism: Picasso’s Guernica; Munch’s The Scream;
Salvador Dali’s Persistence of Memory. They could photocopy these and add
them to their learning log with some comment on art forms emerging out of
political and world events.
·
Students make
connections to learning in other subject areas and then make ‘expert’
presentations which connect drama styles to the historical periods or
philosophies, e.g., Existentialism, with which they are connected.
·
Students create a
database of theatre styles terminology using appropriate categories and use
this file in an interactive manner allowing for searching and retrieving of
important terms.
·
Music students
find a piece of music composed between WWI and WWII that reflects dissonance
and discord. Visual Art students find a piece of art that reflects the same
feeling and share it with the class.
·
Students read an
absurd play and present an oral summary of it to the class.
·
Appendix 2.3 –
Evaluation Rubric for Workshop Presentations
·
Teacher
observation
·
Learning logs
·
Adjust placement
near the large chart, use large lettering, assign a peer to take notes for
him/her
·
Provide a copy of
peer or teacher notes to allow student to focus on listening
·
Provide
opportunities for students to practise self-monitoring with positive
reinforcement for effort
·
Provide
instructions visually and verbally
·
Pair students to
check work
Beckett, Samuel. Waiting for Godot.
U.S.A: Grove Press Inc. ISBN 0-8021-3034-8
Biographical
information and comments Samuel Beckett’s plays
– http://. Compare.uplo.cz/irish/Swork/Beckett/N&B.HTM
Suggested Play Titles for
Theatre of the Absurd
Samuel
Beckett (1906–1989) Waiting for Godot; Endgame; Krapps Last Tape; Happy Days
Eugene
Ionesco (1909–1994) The Bald Soprano; The Lesson; The Chairs
Edward Albee
(1928–) The Zoo Story; The Sandbox; Farm and Yam; The American Dream; Who’s
Afraid of Virginia Wolf?
Harold Pinter(1930–)
The Birthday Party; A Slight Ache; The Caretaker; The Homecoming; Landscape;
Silence; Old Times; A Kind of Alaska; Pinter Sketches
Time: 5 hours (and students work independently in groups of
four or five outside of class time)
The teacher works
along with the library staff to facilitate students’ efforts to research and
prepare a presentation on a style of theatre other than realism or any of the
three presented in workshops in Activities 1–4. A role-playing activity, using
the role of an archeologists doing research, begins students’ research and
stimulates their curiosity. Students work independently of the teacher in
groups of four or five and prepare a presentation to the class about their
chosen style of theatre and a sample scene in that style. They present their
research findings to the class and are evaluated by the teacher.
Strand(s): Theory, Creation, Analysis
Overall
Expectations
THV.03 - describe
the origins and characteristics of different dramatic forms from a variety of
cultures and periods, including the late twentieth century.
Specific
Expectations
TH2.04 - describe
how the elements, principles, and techniques of dramatic arts have been used in
the past (e.g., in the staging of Greek, Roman, medieval, Renaissance,
Elizabethan, and Restoration drama);
TH3.01 - identify a
variety of approaches used in play writing;
TH3.03 - describe
the historical and cultural origins of the dramatic literature chosen for
exploration;
CR1.06 - apply a set
of specific criteria in the selection of plays, scenes, or dramatic forms for
presentation;
CR1.07 - research
either a historical or contemporary style of theatre before creating and
presenting a theatre piece in that style;
AN1.04 - explain the
tension between personal expression and public acceptance in dramatic arts;
AN1.05 - identify
universal concepts and themes from a study of theatre works, and analyse their
personal, social, and cultural significance;
AN1.06 - explain how
theatre can reflect issues, societal concerns, and the culture of the
community, the country, and other countries;
AN1.07 - compare the
contribution of theatre to different societies and cultures, both past and
present;
AN2.02 - explain how
their experiences in dramatic arts have helped develop or enhance their
beliefs, philosophies, or world views.
Research skills;
ability to make notes and transfer these notes into a legible organized format
for submission; ability to refine an Internet search; ability to synthesize
information and refine it to fit a chart.
·
Assemble
resources, locating pictures and theatre history books that contain useful
information supporting students’ choices for investigating the evolution of
styles of theatre throughout history.
·
Arrange for
access to computers with Internet access and support from the library staff.
·
Prepare index
cards for the archeology game, listing each theatre style topic on a different
card.
·
Photocopy
Appendix 2.4 – ISU Research Theatre Beyond Realism for each student
Strategy 1: Perusal of Styles through Discussion and
Archeology Role Play
The teacher presents
the class with an extended view of the evolution of theatre styles through the
ages. Any pictures or visuals such as photographs of Greek amphitheatres are
useful to let students see how very different these styles are. The library
staff could be asked to assist with this. The teacher pairs students and asks
them to go into role as archeologists who are going to dig up the past. The
teacher gives each pair an index card, which lists the theatre style and tells
students to locate as quickly as possible a resource definition of that style
of theatre. Students must then write on the back of the card a definition of
this kind of theatre and two playwrights of this style. The teacher asks
archeologists to share their findings with the class and saves the filled-in
cards for another activity. Prizes could be awarded for the most efficient
research.
Strategy 2:
Presentation of Independent Study Project Handouts
If possible, move
class to a place where networked computers are available. The teacher
distributes Appendix 2.4 – ISU Research Theatre Beyond Realism and clarifies
the expectations of the project and the criteria for evaluation. The teacher
clarifies the amount of class time given to students for the project and
indicates that quite a bit of the work will be done outside of class time. The
teacher then asks students to select a research team of four or five
classmates, pick a topic from the list, and investigate the availability of
resources to support that topic. Students are encouraged to match their scene
selection to the size of their group as well as to divide their presentation
responsibilities equitably. Students could subdivide the research into
sub-topics with some assistance from the library staff or the drama teacher.
Students then begin research and the teacher assists them with locating
websites and other resource materials.
Strategy 3: Seminar Presentation
Groups of students
present their seminars to the class after having worked on them independently
outside of class time. The teacher evaluates the seminars and demonstration
scenes.
Extensions/Enrichment
Students create a
timeline with masking tape or ribbon going all the way around the room. Each
group of students creates a bristol board sign which lists a theatre style and
its date and attaches it along the ribbon in the appropriate sequence. Students
could also make signs for plays that they know of and attach them to the
timeline.
· Teacher observation of research groups on task for the following criteria: engaged research; cooperative division and sharing of responsibilities; note-taking; skills in searching for relevant resources in the library; skills in searching for relevant websites on the Internet
· Teacher observation of research group’s rehearsal of scene
· The final seminar is evaluated as a presentation and the submitted teacher/student checklist (Appendix 2.4) is evaluated.
·
Provide advance
organizers to structure the reading content, e.g., outlines, subtitles,
paragraph frames, main idea and supporting detail, and URLs for research
material
·
Allow additional
time where necessary
·
Encourage the use
of lists, advance organizers, and personal planners for personal organization
Bert,
Norman, (ed.). Theatre Alive! An Introductory Anthology of World Drama.
Colorado Springs, Colorado: Meriwether Publishing Ltd., 1994. ISBN 0916260747
Hartnoll,
Phyllis. The Theatre: A Concise History. New York: Thames and Hudson,
1985.
ISBN 0-500-20073-4
Neelands,
Jonathan and Warwick Dodson. Drama and Theatre Studies at AS/A Level.
England: Hodder and Stausson, 2000. ISBN 0 340 75860 0
Pinter,
Harold. The Birthday Party. England: Eyre Methuen Ltd., 1965. ISBN O
41330480 9
Ratliff,
Gerald, Lee. Playing Scenes A sourcebook for performers. U.S.A:
Meriwether Publishing Limited, ISBN:0-916260-89-5
Videos
including various styles of theatre – www.insight-media.com
Greek
Theatre – http//www diaskalia.berkeley.edu/stagecraft/greek.html
Anton
Chekhov – http//www eldredne.mediaone.net/ac/yr/Anton_Chekhov.htlm
Henrik Ibsen
– http//www.kirjasto.sci.fi/ibsen.htm
General –
http//www.breookes.as.uk/theatre/studies.htm
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Characteristic of Style: |
Commedia Dell’Arte |
Epic Theatre |
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Theory Script
considerations language,
rhythm |
·
Improvised from
a scenario ·
Formula plot
with stock characters ·
Comic style
stressing action not text ·
Plays in the
period of origin with contemporary references accepted |
·
Naturalistic
language ·
May include
songs/poems ·
A theatrical
language for the common people. ·
Unrelated
scenes juxtaposed together |
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Audience
relationship |
·
Market place
interaction with audience often using lazzi ·
Asides used to
speak to audience directly ·
No “fourth
wall” |
·
Audience
becomes spectator who can question. ·
Forces audience
to confront social problems and seek solutions ·
Spectator is
active rather than passive ·
Spectator
distanced from the action |
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Play structure |
·
Structure is
fluid because improvised from scenario ·
Plot revolves
around a central escalating problem ·
Mistaken
identities, dramatic irony, lost letters, chases, beatings, very active ·
Servants out
wit the masters |
·
Play is
deliberately structured to distance the audience, e.g., songs, narrator
commenting on action ·
Sequence of
dramatic events is not necessarily in chronological order ·
Issues are not
resolved |
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Playwright’s
Intention |
·
To entertain ·
To poke fun at
human foibles ·
To poke fun at
class structure |
·
To break the
convention of illusion ·
To pose a
problem and inspire audience to social activism |
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Creation Acting
Requirements Types of
characters Vocal Requirements |
·
Very demanding
physically ·
Very demanding
improvised structure ·
Stock
characters, e.g., Arrlechino, Pantalone ·
Exaggerated
character voices ·
Fast pace and
high clown-like energy |
·
Actor to reveal
his/her many sides to the audience, e.g., often contradictory ·
The actor
stands objectively outside the character ·
Employ
storytelling and mimic techniques ·
Adopt a
critical attitude towards their role ·
Voice can be
naturalistic, and/or symbolic all in the same play, e.g., Mother Courage’s
silent scream |
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Characteristic of Style: |
Commedia Dell’Arte |
Epic Theatre |
|
Physical Requirements Gesture, movement, pace |
·
Exaggerated,
bold character gesture and movement ·
Focus of acting
is on the physical ·
Mime is also
part of the construction |
·
Gesture,
movement can be naturalistic, exaggerated and/or symbolic all in the same
play |
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Actor’s External
Appearance Hair, Makeup, Costume, Mask |
·
Costume match
stock characters ·
Masks for some
characters ·
Clown-like
appearance |
·
Costumes exaggerate
the distinction of the social class ·
Hair, makeup
can be anything from naturalistic to exaggerated, including masks |
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Stage
Requirements: Colour, Set
Design, Lights, Space, Music |
·
Portable set,
backdrop, and simple set ·
Close to
audience for interaction ·
Can include
song, music ·
Bright colours
– Period Italian look |
·
Set
requirements support the distancing effect through exposed lighting, banners
with slogans, visible set changes ·
Music used,
e.g., drumming during the dialogue |
|
Analysis: Universal
Concepts Themes |
·
Don’t take
yourself too seriously ·
Love, greed,
jealousy, laziness, vanity, |
·
A human being
is capable of changing him/herself and the world around him/her ·
We have to be
alert to our social/political environment ·
Survival is
difficult |
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Origins |
·
Flourished from
1500–1750 in Italy, France Performed in market place by travelling troupes of
actors Influenced Shakespeare, ballet, Moliere |
·
Conceived and
developed by Bertolt Brecht in Berlin with The Berliner Ensemble
1930s–1950sMajor influence on contemporary theatre conventions |
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Major Playwrights
and Plays |
·
No written
Commedia scripts Moliere’s plays closest to Commedia style: The Bourgeois
Gentleman, The Imaginary Invalid |
·
Bertolt Brecht:
Mother Courage, Three Penny Opera, The Good Person of Setzuan, The Caucasian
Chalk Circle |
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Characteristics of Style: |
Theatre of the Absurd |
Children’s Theatre |
|
Theory: Script considerations Language, rhythm, |
·
Language is often
fragmented Non-sequitors ·
Word play–new
meaning or double meaning ·
Pauses |
·
Age appropriate
vocabulary story telling ·
Speeches tend
to be shorter ·
Length and
dramatic impact of each sequence must be carefully considered |
|
Audience relationship |
·
Audience often
alienated, teased, puzzled, and disturbed. ·
Audience
questions existence and absurdity of life |
·
Appropriate for
particular age group ·
Sometimes a
narrator may speak directly to the audience ·
Characters may
enter through audience and audience participates actively |
|
Play structure |
·
Plot may be
illogical ·
Often no
resolution at the end ·
Relationships
are nebulous and audience wonders about the characters’ relationships ·
Juxtaposition
of contradictory elements, e.g., friends who destroy each other. ·
Plot is both
comic and tragic – two aspects of the same situation. |
·
Uses a variety
of styles such as Story Theatre, Reader’s Theatre, Mime ·
There is an
emphasis on direct action, e.g., chase scenes ·
Myths, fairy
tales, legends, and fantasy may be included or provide a familiar framework
for adaptations |
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Playwright’s
Intention |
·
Intends to
disturb and surprise by creating a new unpredictable form ·
Intends to
shatter preconceived notions of theatre conventions |
·
To entertain
and sometimes teach a moral lesson ·
To draw the
audience into an imagined world ·
Come to a happy
ending |
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Creation: Acting Requirements Types of Characters Vocal Requirements
Pitch, Pace, Volume |
·
Range from
clowns to realistic characters ·
Since the dialogue
is sometimes illogical, it is critical that the actors speak very clearly |
·
Range from
human to non-human characters, e.g., animals, fairies. ·
Exaggerated
characters. ·
Energy levels
are usually high |
|
Physical
Requirements: Gesture,
Movement, Pace |
·
Contrasts of
extremes are often employed in characterization and pace ·
Pauses are used
to heighten tensions |
·
Exaggerated
gesture and movement ·
Generally fast
paced but sometimes slower scenes can help to build to the climax |
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Characteristics of Style: |
Theatre of the Absurd |
Children’s Theatre |
|
Actor’s External Appearance Hair, Makeup Costume, Mask |
·
Ranges from
naturalistic to clown-like |
·
Exaggerated hair
make-up and sometimes masks or wigs ·
Brightly
coloured costumes ·
Masks sometimes
used |
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Stage
Requirements Colour Set
Design, Lights, Space, Music |
·
Range from
minimal and symbolic/stylized sets and props to naturalistic ·
Colour can range
from colourless, bleak open spaces to naturalistic |
·
Range from
brightly coloured, and stylized to naturalistic ·
Often sets
designed to be portable ·
Music and songs
often used |
|
Analysis: Universal
Concepts Themes |
· Fragments of meaning character’s inability to communicate results in a dark view of the world |
· Often a vehicle for values education, e.g., don’t be a bully · Imagination is valued · Helps children to order their view of the world · Universal theatre form used throughout the world |
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Origins |
· Emerged out of Existential French Philosophy · Began in the early part of the 20th century but was named in the 1950s |
· Ancient forms from market-places: Greece to Italy to Britain |
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Major
Playwrights and Plays |
· Eugene Ionesco: The Chairs, The Lesson · Samuel Beckett: Waiting for Godot, Endgame · Harold Pinter: Pinter Sketches, The Birthday Party: · Edward Albee: The Zoo Story, The Sand Box · Alfred Jarry: Ubu Roi |
· Too many to name - David S. Craig, Anne Chislett, Martha Brooks, Robert Morgan, Aviva Ravel, Michael Shamata, Rex Deverell, Paul Ledoux, Dennis Foon, Kim Selody · Often works are locally developed by companies who adapt existing children’s literature · Jacob Two-Two and the Hooded Fang |
(These are very
brief descriptions to use for walk about and scenarios)
Pantalone: Old, sick, wealthy but greedy, loves women, paranoid, extreme emotions, loves to count his money, easily fooled and often master to the servant Arlecchino.
Il Dottore: Can be a doctor of anything (law, medicine, philosophy, etc.), arrogant, pretentious windbag, gives the wrong answers all the time, forever advising, prescribing, he is often brought in for professional consultation. Walks with air of importance.
Arlecchino: key figure, servant, high energy, mischievous, loves tricks, women, and food, always needs money, loyal, child-like, clownish, acrobatic, and quick physically but slow mentally. Lives in the moment never thinking of the consequences of his actions.
Il Capitano: A braggart, military captain, claims to be a hero in battle, loves to describe his successes, poverty-stricken, and an absolute coward who is easily frightened by anything.
Colombina: perky, good-hearted, friendly, energetic, outspoken, usually Arlecchino’s girlfriend, smarter than Arlecchino, enjoys the trickery and helps Arlecchino with his plots.
Lelio: reckless, extravagant but without money because his father (usually Pantalone or Il Dottore) is a miser, in love with Isabella, overly romantic and not very practical.
Isabella: the female lover usually in love with Lelio,
wants to get married to him, daughter of either Pantalone or Il Dottore, overly
dramatic, easily upset, overly romantic, closely watched by father and
servants.
· Pantalone accuses Il Dottore of misdiagnosing his illness and wants his money back.
· Isabella asks Arlecchino or Colombina or both to help her arrange a secret meeting with Lelio.
· Lelio and Isabella meet secretly in the park.
· Il Capitano overhears Isabella describing Lelio’s attributes and assumes she is talking about him. He greets her by declaring his love for her.
· Pantalone accuses Arlecchino of stealing his money from his secret hiding spot.
· Il Dottore prescribes a cure for Isabella’s love sickness.
· Colombina plays hard to get in response to Arleechino’s romantic advances.
· Il Capitano has no money to pay for services just delivered.
· Il Dottore attempts to gain Pantalone’s trust and help him write a will but Pantalone refuses to reveal the extent of his fortune.
· Arlecchino is so hungry that he constantly interrupts his master Lelio who is trying to convince Isabella of the depth of his love for her.
You may be able to
view a currently running television situation comedy and, by substituting
Commedia characters, find examples of scenarios that you can develop on your
own.
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Learning Expectations |
Task Specific Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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CR2.01 … tasks and
interrelated responsibilities of individuals in production of theatre |
- meeting
obligations |
- met limited
number of obligations |
- met some
obligations |
- met considerable
number of obligations |
- always or almost
always met obligations |
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CR2.02 – …
responsibility of members of ensemble to develop, communicate the intended
meaning or theme |
- working as part
of the group |
- accepts limited responsibility
for the workshop demonstration |
- accepts some
responsibility for the workshop demonstration |
- accepts
considerable responsibility for the workshop demonstration |
- accepts all or
almost all responsibility for the workshop demonstration |
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CR1.01 create and
develop a character, using a classical or contemporary style of
characterization |
- creation of
character |
- creates on a
superficial level (mechanical) |
- creates with
some degree of competency (some fluidity) |
- creates with a
considerable degree of competency (fluid) |
- creates with a
high degree of competence (artistry) |
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CR1.04 reinterpret
characters, using notes… in subsequent rehearsals and performances |
- flexibility in using
conventions taking notes from peers and director |
- has frequent
difficulty changing to meet new circumstances |
- has difficulty
changing to meet new circumstances sometimes |
- has difficulty
changing to meet new circumstances rarely |
- has no difficulty
changing to meet new circumstances |
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CR2.02 …
responsibility of members of ensemble to develop, communicate the intended
meaning or theme |
- synthesizes
previous reflection into the work |
- demonstrates
limited ability to synthesize previous reflection into the work with
difficulty |
- demonstrates
some ability to synthesize previous reflection into the work to some degree |
- demonstrates
considerable ability to synthesize previous reflection into the work to a considerable
degree |
- demonstrates
superior ability to synthesize previous reflection into the work to a high
degree |
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Learning Expectations |
Task Specific Criteria |
Level 1 |
Level 2 |
Level 3 |
Level 4 |
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CR1.02 convey character through the effective use of voice and
movement techniques |
- voice is clear and audible |
- demonstrates limited ability to use voice to portray character |
- demonstrates some ability to use voice to portray character |
- demonstrates considerable ability to use voice to portray character |
- demonstrates a high degree of ability to use voice to portray
character |
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CR1.02 … effective
use of… movement techniques |
- movement
enhances meaning |
- demonstrates
limited ability to use movement to enhance meaning |
- demonstrates
some ability to use movement to enhance meaning |
- demonstrates
considerable ability to use movement to enhance meaning |
- demonstrates a
high degree of ability to use movement to enhance meaning |
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CR1.06 - apply a
set of specific criteria in the selection of plays, scenes, or dramatic forms
for presentation |
- integrates
distinct style characteristics into workshop |
- integrates characteristics
of the style of theatre with a limited |
- integrates
characteristics of the style of theatre with some |
- integrates characteristics
of the style of theatre with a considerable degree of effectiveness |
- integrates
characteristics of the style of theatre with a high degree of effectiveness |
|
CR2.06 - use
technology effectively |
- conveys mood
tension or meaning through using technology |
- demonstrates
limited ability to use technology to convey mood tension, or meaning |
- demonstrates
some ability to use technology to convey mood tension, or meaning |
- demonstrates
considerable ability to use technology to convey mood tension, or meaning |
- demonstrates use
of technology to convey mood tension, or meaning with a high degree of
effectiveness |
Note: A student’s whose achievement is below Level 1 (50%) has not met the expectations for this assignment or activity.
Names: ______________________
Work in Groups of four or five to complete research. Submit a report on your chosen style and present a short workshop demonstration of a piece that represents the style you have chosen.
From the following list of theatre styles choose one style to research: Greek Tragedy (Sophocles. Aeschylus, Euripides), Greek Comedy (Aristophanes), Roman Comedy (Seneca), Medieval Drama (9th to 15th century), Elizabethan Comedy or Tragedy (Shakespeare, Marlowe), Neo-Classical Tragedy (Corneille Racine), Melodrama, Later Comedy of Manners (Wilde, Coward), Realistic Drama (Ibsen Chekhov), Restoration Drama (Congreve, Sheridan) and Expressionism (Pirandello).
· More than one group can choose the same topic as long as you share the resources.
· Consult at least three sources and make note examples of conventions of the style
· Prepare an annotated bibliography for all sources using the accepted format.
· Organize notes to submit as a package.
· Find a play in that style.
· Use your research to prepare a brief introduction to the style and choose an excerpt from the play to prepare a short 1 to 2 minute demonstration scene.
The following
expectations can be observed in student participation during discussion.
(Key: R = Rarely; S
= Sometimes; F = Frequently; A = Always)
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Students’ Names |
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Observable
Criteria |
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Participates in
discussion. |
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Listens
attentively to others during discussions. |
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Describes
historical approaches to acting. |
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Students’ Names |
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Observable
Criteria |
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Describes how
techniques of dramatic arts can be applied. |
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Describes
character development in a particular acting theory and period. |
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Describes a range
of voice techniques and/or qualities. |
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Describes a range
of movement/ gesture techniques and/or qualities. |
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Comments on the
personal, social and cultural impact of theatre. |
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Evaluates personal
and collective contributions. |
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Analyses and
evaluates theatre presentations. |
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Explains how
theatre can reflect concerns and the culture of community and country. |
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Gives constructive
feedback to peers. |
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Realism attempts to create the illusion of reality on the stage. Whether in theatre, film, or television, realistic works consist of a life-like style that appears to the viewer to be very close to everyday life. The vast majority of contemporary film and television in the Western world is produced in a style that evolved from the realist tradition in the theatre. Characters dress in everyday clothing of their time period and live in environments that look completely real. Films are either shot on location or settings are constructed to represent a real place as closely as possible. In the theatre replicas of real rooms are created with painstaking details, except that the “fourth wall” of any room on the stage has been replaced with the auditorium full of spectators. The acting, design and script are all attempting to create this illusion of reality and help the audience to forget that they are actually viewing rehearsed dialogue and movement in the theatre.
The roots of realism may be found in the ‘true to life’ arrangement of actors and three-dimensional scenery made famous by the Duke of Saxe-Meiningen’s company in the 1870s. As a form of theatre realism began in the late 1800s with the father of Modern drama, Henrik Ibsen and the great success of Anton Chekhov and Konstantin Stanislavski in the Moscow Art Theatre. Their sets were designed to be as realistic as possible so that the audience would imagine that they were looking into someone’s home. Every attempt was made to have real objects on stage such as real books on library shelves instead of painted ones on canvas flats.
Ibsen wrote plays that were shocking to the people of his time because they dealt with controversial topics such as divorce and separation, the plight of women in loveless marriages and syphilis. His themes were about the lives of the people in his audience and not about Kings or Gods or distant places or times. The goal of this style of theatre was to have the audience suspend their disbelief and accept the on-stage world, for a time, as reality itself.
Script considerations: language, rhythm: Language is natural and colloquial. Actors speak the way people speak in real life – there is no verse or grand language style.
Audience relationship: The audience suspends disbelief and sees the play as a slice of life. Plays are written for the middle class.
Play structure: Plot maintains unity of time with events in a natural sequence.
Playwright’s intention: To present real life issues and to have people re-think their accepted social mores and environment and their place in the universe by seeing a reflection of themselves on stage.
Types of Characters: Characters are drawn from observation of real people and the actors are required to make them as convincing as possible. The psychology of characters is important.
Vocal Requirements: Characters are to speak as naturally as possible.
Physical Requirements: gesture movement, pace: Actors are to re-create life-like characters. Movement is not heightened but subtle and all gestures are natural. Action is motivated at a natural life-like pace.
Actor’s External Appearance: hair, make-up, costume, and masks: Actors appear as close to the real life of the time period as possible and costume defines class.
Set Design: colour, set design, lights, space, music: Highly detailed to represent as clearly as possible the exact locale, month, and year of the play.
Universal Concepts and Themes: Confronts audience with social issues and questions accepted social mores and morals. Suggests that heredity and environment determined everything in life.
Origins: Began with Henrik Ibsen in the 1800s as a reaction to the obvious exaggerated theatricality of other styles of theatre.
Plays: Ghosts, Hedda Gabbler, and A Doll’s House, by Ibsen. The Seagull and/or Uncle Vanya, by Anton Chekhov.
Other Conventions of the form: Music, lighting and sound effects are used with great subtlety to enhance the illusion of reality being created on the stage. Settings are usually framed within the proscenium arch of the theatre, rather than in an arena or thrust stage. The ‘wall’ between the on-stage reality and the auditorium reality is maintained in that characters never reveal any awareness of the existence of the audience.
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