Post on 07-Jan-2016
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Some 20Some 20thth Century Century Theatre InnovationsTheatre Innovations
Many innovators of modern drama were Many innovators of modern drama were too confronting and different to be too confronting and different to be accepted and understood in their own life accepted and understood in their own life timetimeThis was certainly the case with people This was certainly the case with people such as Brecht, Artaud and otherssuch as Brecht, Artaud and othersTheir ideas have now been accepted and Their ideas have now been accepted and allowed to influence many directors, allowed to influence many directors, designers and actorsdesigners and actors
Theatre StylesTheatre Styles
Theatre of CrueltyTheatre of Cruelty
Poor TheatrePoor Theatre
Theatre of the Absurd Theatre of the Absurd
Theatre of CrueltyTheatre of Cruelty
Antonin ArtaudAntonin Artaud
FrenchFrench
1895 – 19481895 – 1948
He was writing at the same time as Brecht He was writing at the same time as Brecht was writing his Epic, political playswas writing his Epic, political plays
Artaud used the term “Theatre of Cruelty” Artaud used the term “Theatre of Cruelty” to define the style of work he believed was to define the style of work he believed was needed to revitalise the theatreneeded to revitalise the theatre
His theories were based around utilising a His theories were based around utilising a physical theatre languagephysical theatre language
He believed text provided nothing more He believed text provided nothing more than a starting pointthan a starting point
Sound, space, movement, light, spectacle Sound, space, movement, light, spectacle and non verbally based acting would and non verbally based acting would combine, in Artaud’s view, to excite, shock combine, in Artaud’s view, to excite, shock and enthral audiences, forcing them to and enthral audiences, forcing them to confront the inner, primal selfconfront the inner, primal self
Artaud proclaimed that theatre should Artaud proclaimed that theatre should return to its primitive roots and aim to return to its primitive roots and aim to provide an experience of communal ritualprovide an experience of communal ritual
Artaud was interested in exploring the Artaud was interested in exploring the human mindhuman mind
Artaud was a surrealist in the 1920’sArtaud was a surrealist in the 1920’s
He believed many dark secrets were He believed many dark secrets were hidden deep inside our minds hidden deep inside our minds (subconscious) that we are not aware of, (subconscious) that we are not aware of, that caused us to do the things we didthat caused us to do the things we did
Artaud was deeply influenced by the Artaud was deeply influenced by the Surrealist movement even when he left the Surrealist movement even when he left the movementmovement
Surrealism – Salvador DaliSurrealism – Salvador Dali
Another member of the Surrelist Another member of the Surrelist movement was Salvador Dalimovement was Salvador Dali
He was famous for his dream paintings He was famous for his dream paintings filled with objectsfilled with objects
Salvador Dali’s paintingsSalvador Dali’s paintings
Artaud belived that theatre should force Artaud belived that theatre should force people to confront and heal their inner people to confront and heal their inner selves or they will become negative and selves or they will become negative and destructivedestructive
He disapproved of the typical plays that He disapproved of the typical plays that dealt with social problems or individualsdealt with social problems or individuals
Unlike Brecht who wanted to brainwash Unlike Brecht who wanted to brainwash his audience with strong messages, his audience with strong messages, Artaud thought that was a waste of timeArtaud thought that was a waste of timeTheatre needed to be more primitive and Theatre needed to be more primitive and instinctive if it was to really touch people instinctive if it was to really touch people and change themand change themHe used the term “Theatre of Cruelty” He used the term “Theatre of Cruelty” because he was forcing the audience to because he was forcing the audience to face itself. He was being ‘cruel to be kind’face itself. He was being ‘cruel to be kind’
Rituals and symbols were seen as Rituals and symbols were seen as powerfulpowerful
The aim of Theatre of Cruelty was to crahs The aim of Theatre of Cruelty was to crahs through the shell of bourgeois civilisation through the shell of bourgeois civilisation and its cultural restrictions and to get to a and its cultural restrictions and to get to a deeper, more spiritual planedeeper, more spiritual plane
His quest was as much socially motivated His quest was as much socially motivated as artisticallyas artistically
Theatre SpacesTheatre Spaces
Artaud felt that plays should be taken out Artaud felt that plays should be taken out of the traditional theatre building which he of the traditional theatre building which he rejected as being too formalrejected as being too formal
He preferred large spaces such as He preferred large spaces such as warehouseswarehouses
The audience intermingled with the actorsThe audience intermingled with the actors
No scenery except for symbolsNo scenery except for symbols
Lighting was to be fast and excitingLighting was to be fast and exciting
Sound was also importantSound was also important
Artaud believed that the audience could be Artaud believed that the audience could be ‘assaulted’ with a fast paced ‘assaulted’ with a fast paced light/sound/human showlight/sound/human show
He believed the audiences’ inner selves He believed the audiences’ inner selves would be released and be confronted and would be released and be confronted and healedhealed
Although Artaud’s aims might seem far Although Artaud’s aims might seem far fetched, his ideas can be adapted into fetched, his ideas can be adapted into contemporary preformancescontemporary preformances
These days many people use drama in These days many people use drama in Artaud’s way to heal from psychological Artaud’s way to heal from psychological pain and this is called psychodramapain and this is called psychodrama
Artaud suffered mental and emotional Artaud suffered mental and emotional breakdownsbreakdownsThis perhaps explains why he was This perhaps explains why he was interested in this area of dramainterested in this area of dramaAfter he died his published works inspired After he died his published works inspired many dramatistsmany dramatistsIn 1963 the Theatre of Cruelty was formed In 1963 the Theatre of Cruelty was formed and Artaud’s ideas were materialised and and Artaud’s ideas were materialised and touredtoured
The Theatre and Its DoubleThe Theatre and Its Double
Artaud’s book, “The Theatre and Its Double” was Artaud’s book, “The Theatre and Its Double” was originally released in 1933originally released in 1933
It was not really influential until after his deathIt was not really influential until after his death
Practioners such as Julian Beck and Judith Practioners such as Julian Beck and Judith Malina, founders of America’s Living Theatre, Malina, founders of America’s Living Theatre, Joseph Chaikin and his Open Theatre, English Joseph Chaikin and his Open Theatre, English director Peter Brook and Jerzy Grotowski, director Peter Brook and Jerzy Grotowski, founder of the Polish Laboratory theatre, were founder of the Polish Laboratory theatre, were all influenced by “The Theatre and Its Double”all influenced by “The Theatre and Its Double”
Although this was not a theatre style Although this was not a theatre style based on text it still inspired several works based on text it still inspired several works in the written formin the written form
The most important of these written plays The most important of these written plays was the Peter Weiss’ play “Marat/Sade”was the Peter Weiss’ play “Marat/Sade”
Poor TheatrePoor Theatre
Jerzy GrotowskiJerzy Grotowski
Born in Poland 1933Born in Poland 1933
His ideas about acting and theatre have His ideas about acting and theatre have conrtibuted greatly in that they reclaimed conrtibuted greatly in that they reclaimed the essential importance and role of the the essential importance and role of the actoractor
Grotowski reminded people that one did Grotowski reminded people that one did not need expensive sets, lighting and not need expensive sets, lighting and costumescostumes
His theatre was actor basedHis theatre was actor based
Hence his theatre was called “Poor Hence his theatre was called “Poor Theatre”Theatre”
When all stage elements are removed, When all stage elements are removed, only the essentials are left – actors and only the essentials are left – actors and audienceaudience
The relationship between actor and The relationship between actor and audience is a powerful one which audience is a powerful one which Grotowski studied closely as part of his Grotowski studied closely as part of his ‘laboratory’‘laboratory’
Great demands are made on actors in Great demands are made on actors in Poor TheatrePoor Theatre
They are the centre of attention, the keyThey are the centre of attention, the key
Effective actors must work on themselves Effective actors must work on themselves until they can give of themselves fullyuntil they can give of themselves fully
Grotowski worked intensely with his actors Grotowski worked intensely with his actors as he recognised that all individuals are as he recognised that all individuals are uniqueunique
““Towards a Poor Theatre”Towards a Poor Theatre”
Grotowski’s book “Towards a Poor Theatre” Grotowski’s book “Towards a Poor Theatre” included many of the exercises that he used to included many of the exercises that he used to free up his actorsfree up his actors
Some of his techniques included silence/inner Some of his techniques included silence/inner meditation, physical endurance and training in meditation, physical endurance and training in emotional memory*emotional memory*
*Emotional memory is reliving an event to recreate *Emotional memory is reliving an event to recreate the emotion.the emotion.
Theatre SpacesTheatre Spaces
Plays were staged in diverse settingsPlays were staged in diverse settings
Ordinary rooms to warehousesOrdinary rooms to warehouses
Like Artaud he saw no need to separate Like Artaud he saw no need to separate the audience and the actorsthe audience and the actors
He wanted to create a dynamic audience He wanted to create a dynamic audience relationshiprelationship
Grotowski believed the power of the actor Grotowski believed the power of the actor should be so strong that he/she could should be so strong that he/she could transform anything around him through the transform anything around him through the power of his/her beliefpower of his/her belief
In other words the floor could become the In other words the floor could become the sea or a boat, etcsea or a boat, etc
Grotowski’s influence came at the best possible Grotowski’s influence came at the best possible time for it seemed to re-invent drama and the time for it seemed to re-invent drama and the theatre t a time when dramatists had to compete theatre t a time when dramatists had to compete with films, videos and television. The only plays with films, videos and television. The only plays at the time seemed to be lavish, expensive at the time seemed to be lavish, expensive musicalsmusicals
Gortowski showed us that even a vulnerable Gortowski showed us that even a vulnerable lone actor with no props can have as much lone actor with no props can have as much impact as any blockbuster filmimpact as any blockbuster film
Theatre of the AbsurdTheatre of the Absurd
Absurdism was a movement based on the Absurdism was a movement based on the ideas of Existentialismideas of Existentialism
Existentialism was first developed by Existentialism was first developed by Jean-Paul Sartre and Albert CamusJean-Paul Sartre and Albert Camus
They were both FrenchThey were both French
According to existentialists, life is According to existentialists, life is meaningless – just a series of acts - meaningless – just a series of acts - nothingnothing
Jean-Paul SartreJean-Paul Sartre
Albert CamusAlbert Camus
Absurdist theatre rose to prominence in Absurdist theatre rose to prominence in the 1950’sthe 1950’s
Its precursors can probably be found in the Its precursors can probably be found in the works of earlier playwrights like Kafka, works of earlier playwrights like Kafka, Jarry and PirandelloJarry and Pirandello
KafkaKafka
JarryJarry
PirandelloPirandello
Famous Absurdist PlaywrightsFamous Absurdist Playwrights
Eugene IonescoEugene Ionesco
Samuel BeckettSamuel Beckett
Jean GenetJean Genet
Eugene Ionesco 1912 - 1994Eugene Ionesco 1912 - 1994
Ionesco’s PlaysIonesco’s Plays
RhinocerosRhinoceros
The Bald SopranoThe Bald Soprano
The ChairsThe Chairs
Samuel Beckett 1906 - 1989Samuel Beckett 1906 - 1989
His playsHis plays
Waiting For GodotWaiting For Godot
EndgameEndgame
Krapp’s Last TapeKrapp’s Last Tape
Jean Genet 1910 - 1986Jean Genet 1910 - 1986
His PlaysHis Plays
The MaidsThe Maids
The BalconyThe Balcony
The BlacksThe Blacks
Absurdist PlaysAbsurdist Plays
Absurdist plays highlight the meaningless Absurdist plays highlight the meaningless or absurdity of life and often feature an or absurdity of life and often feature an underlying despairunderlying despair
The fundamental belief expressed in The fundamental belief expressed in absurdist works is that humankind is lost in absurdist works is that humankind is lost in a godless universe, where their actions a godless universe, where their actions and behaviour become absurd and and behaviour become absurd and uselessuseless
The illogical and the irrational are at the The illogical and the irrational are at the heart of most absurdist dramaheart of most absurdist drama
Characters tend to be archetypalCharacters tend to be archetypal
Language is irrelevant in the sense that it Language is irrelevant in the sense that it fails to convey meaningfails to convey meaning
Time and place have no real relevance Time and place have no real relevance eithereither
Despite this grim outlook, Absurdist Despite this grim outlook, Absurdist Theatre is essentially comic in natureTheatre is essentially comic in nature
Humankind is deluded in its belief that it is Humankind is deluded in its belief that it is at the centre of the universeat the centre of the universe
This is seen as a ridiculous proposal which This is seen as a ridiculous proposal which warrants nothing more than laughter and warrants nothing more than laughter and derisionderision
Features of Absurdist PlaysFeatures of Absurdist Plays
Features may include:Features may include:Non-realityNon-realityNo sense of time/placeNo sense of time/placeUnusual charactersUnusual charactersAbsurd happeningsAbsurd happeningsChaosChaosSimple/minimal setsSimple/minimal setsMeaningless dialogue/word gamesMeaningless dialogue/word gamesRepetition highlighting futilityRepetition highlighting futilityHumourHumour
Some people find Absurdist plays hard to Some people find Absurdist plays hard to understand and cope with, however the understand and cope with, however the movement produced some very movement produced some very impressive plays which are still staged impressive plays which are still staged regularly todayregularly today