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• English theatre practitioner
• Directed Hamlet at Moscow Art Theatre
• Moved to Italy and opened theatrical design school |
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• Swiss theatre designer: lighting and sets
• Mise en scene:
o Dynamic, 3d movements by actors
o Perpendicular scenery
o Using depth and horizontal dynamics of playing space |
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• Epic theatre practitioner
• Staged plays in overtly political ways
• Focus on social/political context of plays
• Good Soldier Schweik |
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• Worked with Provincetown Players in 1915
• Wrote The Hairy Ape and Emperor Jones |
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• Worked with Provincetown Players in 1915
• Wrote Trifles and The Verge |
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• Brecht’s wife
• Noted actress (Mother Courage)
• Helped Brecht write |
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• Family of actors in 1750s
• Fled Licensing Act, went to America
• Produced classical/European fare |
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| • Wrote Civic Drama/pageants, like Pageant and Masque of St. Louis in 1914 |
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• Head of Federal Theatre Project (FTP – 1935-1939)
• FTP put people to work doing theatre during Great Depression |
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| • Wrote agit-prop musicals The Cradle Will Rock and Pins & Needles in 30s (?) |
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• Founder of Theatre of Cruelty
• Wrote Jet of Blood (play), Theatre & Its Double (theoretical work) |
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• German
• Worked in Epic Theatre
• Early works: expressionist plays, Lehrstucke (teaching plays)
• Wrote longer plays. Difficult questions, often with no answer
• Brechtian theatre: alienation.isolation
• Nothing is inevitable: “to make the familiar strange and the strange familiar”
• No linear plot leading to catharsis
• The Exception and the Rule, The Measures Taken, Mother Courage, Good Person of Szechwan |
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• Surrealist French writer
• King Ubu (Ubu Roi) 1900s |
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• Spanish non-realist
• Marionette plays, farces, tragedies
• Gay, killed by fascists
• Blood Wedding, Yerma, House of Bernarda Alba |
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• Italian absurdist dramatist
• Six Characters in Search of an Author |
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• Critic, wrote The Theatre of the Absurd in 1961 before “absurdism” was a common term
• The name “absurdism” stuck afterward |
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• Environmental Theatre
• The Performance Group, a politically-engaged theatre company in the 60s
• Move away from traditional text/stage
• 6 Axioms of Environmental Theatre |
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• Happenings in the 60s
o Performance events
• Art is not just an object, for the museum: it should encompass environment
• 18 Happenings in 6 Parts |
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• 1874-1940
• Biomechanics, constructivism
• “Outside-in” acting
• Successor to Stanislavski
• Murdered by Stalinist forces |
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• African-American female playwright
• A Raisin in the Sun, 1954 – first Broadway play by a black female playwright with black director |
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• Chicano playwright, Zoot Suit
• Worked with San Fran Mime Troupe for a short period |
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• One of NEA Four
• Lesbian
• Wrote World Without End, Preaching to the Perverted (both autobiographical) |
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• One of the NEA Four
• The Constant State of Desire |
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• One of the NEA four
• Blessed Are All The Little Fishes |
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• One of the NEA four
• My Queer Body, Glory Box – both autobiographical
• Does workshops on solo performances |
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• Existentialist writer
• No Exit (theme: hell is other people)
• Existential themes, realistic conventions |
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• Existential writer
• Caligula (play), The Myth of Sysyphus (essay)
• Existential themes, realistic conventions |
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• Existentialist writer
• Waiting for Godot, Endgame, Happy Days, Not I
• Life after apocalypse of meaning
• Unrealistic conventions |
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• Existentialist writer, unrealistic conventions
• Rhinoceros, The Lesson, Bald Soprano
• Breakdown of language; communication doesn’t work |
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• Polish theatre practitioner, innovator, 1933-99
• “Poor Theatre” (theatre stripped of extraneous elements
• Polish Laboratory Theatre
• Wrote Towards a Poor Theatre |
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• Polish theatre practitioner, innovator, 1915-90
• Dead Class
• “Impossible Theater”
• Creating thought on stage; use of stunning images
• CRICOT 2, his theatre ensemble |
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| existentialist playwright, breakdown of language, Bald Soprano, The Lesson. |
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| Poor Theatre, Polish Laboratory Theatre, hand exercises on youtube. |
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| Impossible Theatre, creating thought on stage, CRICOT 2, dead classroom. |
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| part of Group Theatre, professional theatre company in 1931-41, started Method acting and founder of Actor’s Studio. |
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| director of the Group Theatre |
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| actress in the Group Theatre, disputed Strasberg on his take on Method acting from Russia. |
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| existentialist playwright, reality of fantasy, The Maids, The Balcony |
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| existentialist playwright, dark pauses, interruptions in reality, Homecoming, The Dumbwaiter, Betrayal. |
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| existentialist playwright, corruption and lies sustain life, The Sandbox, Three Tall Women. |
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| Realistic 10 play cycle, African-American playwright, Fences, King Hedley. |
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| Theatre of the Oppressed, Invisible Theatre, workshops, games, Image and Forum Theatre, Cop-in-the-Head. |
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| 60s-70s performance art, Calling Card No. 1. |
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| 60s-70s performance art, Cut Piece |
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| 60s-70s performance art, Rhythm O. |
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| 60s-70s performance art, Interior Scroll. |
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| 60s-70s performance art, Shoot, Doomed. |
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| 1948, Living Theatre, politically engaged radical theatre, Environmental Theatre, Guerilla Theatre, hit and run. |
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| 1948, Living Theatre, politically engaged radical theatre, Environmental Theatre, Guerilla Theatre, hit and run. |
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| 1770s, pamphlet plays, The Adulator |
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| 1787, first US plays about US subjects, introduced Yankee character type, The Contrast. |
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| US actor of 1800s, cousin to John Wilkes Booth. |
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offers “47 Workshop” at Harvard, trains playwrights and makes theatre study respectable, Yale School of Drama, theatre education spreads.
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| Negro theatre is for, of, by and near African-Americans, his Krigwa Players sponsor playwright contest, Harlem Renaissance 1919-30s. |
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| author of Unmarked, liveness is what makes theatre unique, performance is ephemeral, never the same twice, live performance is co-existence with audience. |
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| author of Liveness, feeling of theatre is more important than liveness, liveness isn’t end-all, be-all. |
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