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| Paris Based company; utilizes physical theatre and improvisation- merging art forms- presented by Oscar, Dance |
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| Mouises Kaufman and Jeffrey LaHoste- Laramie, Gross Indecency, Lord of the Flies- aims to understand the constructs of how things are made and how they might be made differently |
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| Artistic home for Sam Shepard, Lanford Wilson, Tom O'Horgan, Philip Glass; Founded by Ellen Stewart; a presenter and space rather than performer |
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| Cornerstone Theatre Company |
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| Traveling theatre troupe focused on community specific work that involves its community in developing and attending the work |
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| New York Shakespeare in the Park |
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| Founded by Joseph Papp; Performs with many "stars" for free in Central Park; Public Theatre an offshoot- public produced Hair, A Chorus Line |
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| British director and writer; wrote the Actor and the Target; Founded Cheek by JOwel with Nick Ormerod; directed for many companies |
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| British theatre and film director; influenced by Theatre of Creulty and JOan Littlewood; Revealed mechanics of the stage and created startling visual effects; created Tehatre of Creautly Workshops |
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| Inspired by Commedia; Plays make bold statements; Nobel prize winner |
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| Founder of SITI Company & artistic director; Create new work, international collaboration and the training of young artists with a focus on Suzki Method and Viewpoints |
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| Founder of Mabou Mines; Artist in Residence at Court Theatre; Directed Endgame in a subway station; |
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| Brechtian in style and produces theatre with visual signs and symbols- long and interesting productions |
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| Avant-garde American artist; director of the tempest, taming of the shrew, titus andronicus, Lion King, Spiderman |
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| Likes to reinvent classical work; Romanian but immigrated to US |
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| Founded by richard Shechner; used the performing garage in soho as the home base; experimented with environmental theatre, group process, and the performer audience relationship |
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| Evolved out of the performance group; Founded and headed by Lecompte and Spalding Gray; entirely ensemble based; does mostly derivitavie work, rather from their lives or from other texts; Work in dance theatre and video; Multilayered, multiffocused work; deconstructing narratives & presents a direct expression of culture rather than a point of view |
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| Founded by Ruth Maleczech and Lee Breuer; Wants to explore a new theatrical language by exploring latest concepts in music, visual arts, technology, animation and more traditional forms (puppetry, text, movement, theatre design |
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| August: Osage County; member of Steppenwolf ensemble; uses themes of violence, death drug use, psychosis ; highly realistic |
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| Women should have exact same rights and opportunities as men |
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| Celebrates femininity and the values associated with women |
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| Identifies and deconstructs the mechanisms which perpetuate sexism, racism, classicism, and homophobia. |
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| Patriarchy (or dominant ideology) |
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| Culutre vlaues and insitutions created by and for men, which exclude women |
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| Ignoring, silencing, or devaluing women |
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| To reduce a person to an object |
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| Presenting the world from the male perspectve for a male audience |
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| the process of creating culture, the mechanisms for passing on the dominant ideology |
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| The feminine writing style- non linear, stream of consciousness, imagaistic, writing often emphasizing story-telling |
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| Author of Metamorpheses; Works with Lookingglass; focuses on adaptation and the devising process; uses movement and theatrical spectacle in her work |
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| Sexuality is not an either or- it's a range of behaviors |
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| Free instrumental composition in no strict form; potpourri of operatic arias or song; a poem or play in which an author's fancy roves unrestricted |
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| "An intelligent man with the ability to charm, when he did not repel"; Character in Angels in America |
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| Restructuring of Russian society- forming a new structure and change |
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| Angels in America- Millennium Approaches and Perestroika- won tony for best play for these |
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| Rooted in existentialism, abusrdist fiction, anti-realism, tragicomedy, and surrealism; Began because of WWII- "What has western civ led us to?"; Language loses purpose, characters are flat, plots can be circular, cliche and routine; written by Beckett, Ionesco, Genet, and Pinter |
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| Absurdist writer of Waiting for Godot; Doesn't rely on elements of traditional drama, deeply pessimistic about human nature and human condition, great since of humor, stark and minimalistic |
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| Pillowman author; dark, violent, funny; thinks of himself as a film writer; dark endings to his plays |
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| Three Tall Women author; won many awards, wrote who's afraid of virginia woolf |
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| How I Learned to Drive; Balitimore Waltz; |
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| Homecoming author- more postmodern |
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| Proof author; influenced by Mike Nichols, Elaine May, Mamet; |
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| Art author- "everyone gets under everyone's skin"; characters lose themselves in monologues; single stes with four or less characters; interesting relationship with the audience |
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| Representational movements |
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| Symbolism, Surrealism, Absurdism, Expressionism |
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| Truth is found in the subconscious which must be liberated from the oppression of reason and society |
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| Truth is nowhere to be found |
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| Truth is found in both physical appearances and the subconscious, so it is both objective and subjective |
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| truth is subjective and external ojbects must be distorted to reveal internal truth |
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| Truth is hidden behind a veil and can oly be glimpsed through the use of symbols; |
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| truth is found the details of physical appearances; |
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| Trusth is objectively determined by heredity and environment- seemingingly structureless plots about lower class characters |
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| San Francisco Mime Troupe |
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| Creates and produces socially relevant theatre of the highest professional quality and performs it before the broadest possible audience; Rips things from the time to create theatre about it |
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| Founded by Joseph Chaikin; Students of Nola Chiton, and Peter Felman; derived from an improvisational process that created well known exercises such as sound and movement and transformations |
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| Fonded by Judith Malina and Jullian Beck; Used theatre as a tool to effect social change; set plays in unusual venues and performed for free; used theatre of cruelty and a simple message of peace, love, and nonviolence. |
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| Uses psychologically real characters, style determined by playwright, saw theatre as a medium for social change |
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| Fragmentation, reflexivity- a play about a play; juxtaposition of style and genre; emphasis on theatrical spectacle, disruption of psychological character, multi centered and multi layered, with the director as primary artist |
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| Funny but dark; a deep love of language; William Butler Yeats, Lady Augusta Gregory, John Millington Synge; Sean O'Casey and Marina Carr are famous playwrights |
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| Used historization, short scenes, actors dropping character and discussing the action of the play, using songs to stop and interrupt the action, and isolating elements of the productions so we know it's there; wants to remind us that we can make a different choice and that will change the outcome. |
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| Theatre of Cruelty (Artand) |
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| Sharp sounds, and lights shinging in the audience in order to shock them on a gut level; language used for the sounds rather than it's actual meaning; the usage of found spaces; and and experiment wtih the actor/audience relationship in order to improve individual's lives |
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| Holy Actors must totally give oneself to the taudience, and must be free from all limitaitons and conventions- you must take risks. Extensive voal and physical training in order to respond to any and all impulses. Actors must create all sounds lives, with little costume and no makeup. Overhead light rather than theatrical lights, using simple sets and paring down everything ot he essential. Teh actor audience relationship is so important, because the goal is to help the audience touch their innermost core. |
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| A juxtaposition of diverse elements and occurrences performed in any environment by and audience who are at once spectators and participants |
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| Relies on direct audience contact with a performer; the occurrence itself is the art, not the piece created; the audience doens't participate. Ranges from highly personal and entertaining to offensive and social and political |
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| Performers using Vaudeville-type acts in order to comment on life and art- Cirque de Soliel and Theatre de la Jeune Lune |
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