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| "The Father of Modern Drama"; was from Norway |
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| Wrote Ghosts, Hedda Gabbler, and A Doll's House |
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| August Strindberg(1849-1912) |
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| Wrote Miss Julie; from Sweden; later became influential in Expressionism and wrote A Dream Play which uses this |
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| These began to arise in the late 19th. Century; under which acting styles were established, actors played types; and the Repertory theatre was extensive. |
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| Specific things actors did |
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| Played 428 roles in 2 1/2 years which didn't allow much rehearsal time |
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| Their plays demanded new depth of character |
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| The German States were unified in: |
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| Richard Wagner(1813-1883) |
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| Wrote Bayreuth Festepielhaus; made the director more powerful;and made orchestra seats the best in the house(not boxes) |
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| Were bigger for larger audiences; high-tech for more impressive sets and scene changes; had drops, borders, and ground rows; and used gas lamps, lime light, and elecricity |
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| The Duke of Saxe-Meiningen; great theatre enthusiast |
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| Goerg II(The Duke of Saxe-Meiningen) |
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| Toured Europe with his court theatre visiting 38 cities including Moscow and Paris, did 3,000 performances of 41 plays(six of which were Shakespeare's), 16 Shakespeare plays were performed at home. |
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| Goerg II(The Duke of Saxe-Meiningen) |
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| Wanted complete historical accuracy, great archaeological study; thought the ensemble was important; even the smaller roles were played well |
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| Had always been more successful in German states than in France |
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| Was influenced by Goerg II's court theatre |
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| Saw The Duke of Saxe-Meiningen's court theatre, in Moscow |
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| New Theatre known for Realism in Paris; performed Landmark Naturalistic plays: Power of Darkness(Tolstoy), Ghosts and Wild Duck(Ibsen) |
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| New Theater known for Realism in Berlin; September 29--opened with Ibsen's Ghosts; produced Miss Julie |
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| Independent Theatre(1891) |
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| New Theatre known for Realism in London; opened March 12 with Ghosts; George Bernard Shaw was a founding member; performed Shaw's first play--Widower's House |
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| New Theatre known for Realism in Moscow; founded by Stanislavski; performed Tsar Fyodor(Tolstoy) and The Seagull(Anton Chekhov); curtain parted instead of rose as was the custom of that time |
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| New Theatre known for Realism in Provincetown, MA |
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| Influenced by Theatre Libre; started Scandinavian Experimental Theatre that opened in 1889 with 3 of his plays; the fourth, Miss Julie, was banned |
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| Banned by the Berlin police in Germany; performed matinee in 1887; Freie Buhne opened September 29, 1889 with this play |
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| W.B. Yeats and Edward Martyn |
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| Chicago 1912, Maurice Brown; Susan Glaspell and George Cook were supporters |
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| Susan Glaspell and George Cook |
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| Moved to NY in 1913; were Washington Square players in 1914 at Greenwich Village; spent summers in MA in Provincetown Players |
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| Still popular on Broadway and West End |
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| Vladimir Nemirovich-Danchenko |
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| Russian playwright and teacher |
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| Stanislavski and Danchenko |
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| Had a cafe meeting in 1897; discussed the principles for a new professional theatre from 10 AM to 3 AM the next day which resulted in the Moscow Art Theatre |
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| Used a System of actor training; aimed at finding inner truth not just naturalism |
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| wrote The Cherry Orchard--which uses symbolism and ambiguity--and A Dream Play--which uses expressionism |
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| Wrote Origin of the Species(1859)--Natural Evolution |
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| Wrote Communist Manifesto(1848)--self-determination of working classes |
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| Wrote The Interpretation of Dreams(1899)--examining the subconscious |
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| Main theme of the 19th. Century |
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| Alternative to the Well-Made play: |
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| Less resolution; instability of character; no solid plot; distortion in set design; estranging the audience; and mocking human reason and logic |
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| Maurice Maeterlinck(1862-1949) |
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| Used introspection and subjectivity; evoking states of mind and emotion; wrote The Princess Maleine, The Intruder, The Blind, and Alfred Jarry(Ubu Roi--a satire vs. the French bourgeois which deals with greed and wealth; has profanity) |
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| Adolphe Appia and Gordon Craig |
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| Used lighting and music to effect moods and emotions; fog, gauze curtains; and actors as part of the set |
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| Wrote Salome--which was symbolic; wrote Drawing Room Comedy, one example of which is The Importance of Being Earnest |
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| Authentic Shakespeare, which came from England; founded Elizabethan Stage Society |
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| E. Gordon Craig(1872-1966) |
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| Developed overall artistic concept; used set and light to create images/impressions; forget reality, authentic detail; created the play without actors |
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| The mother/founder of modern dance |
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| Cut out shapes used to make images |
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| Believed Theatre to be an event of deep spiritual value(Wagner); Mise-en-scene; 3 elements in harmony; believed the director to be the principle creative force |
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| Overall effect of everything on the set; theme/idea |
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| Ultimate example of director as independent creative force |
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| A large house(for grand spectacle); Max Reinhardt built a small space(Kammerspiele) |
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| Transformed into a cathedral with lighting effects; The Miracle(London 1911) was performed, Everyman--Cathedral Square in Salzburg, and had a film version of Midsummer Night's Dream in 1935; arena seating all around stage; Max Reinhardt built a larger house for a greater spectacle |
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| Chamber, Proscenium, and giant |
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| An actor-manager in England; Shaw, Pygmalion(1914) |
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| Playwright/producer; friend and associate of Shaw; spoke for a national theatre in England; worked with William Poel(Richard II) |
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| Actor-manager; started a company in 1883 devoted to Skakespeare; annual Shakespeare season at Stratford(1891-1919); company renamed in 1961; Royal Shakespeare Company |
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| One of two rivals; was over-the-top, dramatic; managed a theatre in Paris |
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| The second rival; simplistic/realistic; toured with her own company |
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| Tour of The Ballet Russes: |
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| Paris 1909; Mime; influenced by modern innovators(Duncan); performed The Firebird and The Rites of Spring(Stravinsky), L'Apres-midi d' un faune(The Afternoon of a Faun)--Debussy |
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| Expressive acting and costume |
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| Extreme artistic experimentation |
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| The early 20th. Century was a time for: |
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| Great War/War to End All Wars |
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| Dream-like/Nightmarish visions; A Dream Play by Strindberg was forerunner; used in Germany for political and social issues; emotional transcendence; dynamic stylized movement; bold lighting effects; and vivid dreamlike visions |
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| nonsense, came from "barbarianism";early 20th. Century Switzerland; challenged rational roots of Western Civilization; aimed at a formless and irrational art; satirical cabaret; montage/collage--influenced scenery/costume |
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| In France Dadaism developed into this; free the mind of the ego's logic and the superego's censorship; dreams as superior reality; hallucinatory distortion--prescient view of Absurdism |
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| In Italy; Filippo Marinetti showed this through glorification of technology |
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| Pirandello(actors aware they are in a theatre), instructional theatre, wrote Six Characters in Search of an Author--riots at it's opening in Rome |
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| The set is a machine for the actors' performance; many avant-garde forms influenced by Russian Revolutionary/Communist Ideals |
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| Vsevolod Mehyerhold(1874-1940) |
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| Used constructivism; and biomechanics--non-realistic movements |
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| Wrote Heartbreak House and Saint Joan |
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| Wrote Private Lives and Blithe Spirit; wrote comedies and social commentaries |
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| Berthold Brecht(1898-1956) |
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| Attracted by Marxism; theater of social and political responsibility; alienation effect; artificial/mechanical; didactic/ teaching theater |
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