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| In 1912 he published The Civic Theatre in Relation to the Redemption of Leisure; A Book of Suggestions. Here he presented a concept of Civic Theatre as "the conscious awakening of the people to self-government in its leisure". To this end he called for the active involvement of the public, not merely as spectators, profssional staff not dominated by commercial considerations and the elimination of private profit by endowment and public support. |
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| Helped found the Yale School of Drama in 1925. Taught Eugene O Neill |
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| Important to the Postmodern movement. Wrote Hamletmachine. |
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| Began teaching method acting. Founded American Laboratory Theatre in 1923, which taught Lee Strasberg, Stella Adler, and Harold Clurman. |
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| Founded by Harold Clurman, Lee Strasberg, and Cheryl Crawford in 1931. Pioneers of Stanislavski based "American Acting Technique." Included Elia Kazan, Stella Adler, Sanford Meisner, Howard Da Silva. |
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| a term for a theatrical form presenting factual information on current events to a popular audience. A brechtian convention. Also used by Augusto Boal, and used in Agitprop theatre. |
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| Wrote music for many of Brecht's plays and operas. Wrote "Alabama Song," and "Mack the Knife" just to name a few. |
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| Co-Author of The Threepenny Opera and Brecht's Lover. It is said that she had wrote the majority of Brechts works, though went uncredited. |
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| A physical gesture informs the attitude. Allows for an Actor's Commentary on a role, when the text is very specific. |
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| Art that makes use of many different art forms, or strives to do so. Artistic unity in total. Wagner used this term for his work. |
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| Part of the Group Theatre, and co-founded the Actors Studio. Friendship with Arthur Miller. Named names at a HUAC hearing, reputation tarnished, friends lost. Directed A Streetcar Named Desire. |
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| Founded "Theatre of the Absurd (1961). Did a job of retroactvely defined absurdism. |
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| Spent most of his life in prison. Deviancy is just as valuable as being virtuous. Wrote plays that tended to rebel against higher class. |
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| Formerly LeRoi Jones. Wrote Dutchman. Contepmt for misguided blacks and all whites. Was once Black nationalist, but then left that for Revolutionary socialism and anti-Zionism. |
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| Wrote "Zoot Suit." Important Chicano movement playwright. |
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| Irish surrealist playwright. Wrote primarily in French. Rarely political, more spiritual. |
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| English Producer/Director. Famous for several things in revolutions in representation; Premiers "Marat/Sade", "Midsummer Night's Dream" with Meyerhold's Biomechanics, and did Orgasts |
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| Strong Feminist Playwright who adressed issues of power and exploitation through gender issues and postcolonialism. Wrote Cloud Nine. Also wrote specifically for Joint Stock Company and English Stage Company. |
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| U.S. Musical writer. Very Experimental. Apprenticed with Hammerstein. Wrote Sweeny Todd and Into the Woods. |
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| Play by Edward Bond (1965). Had a baby stoned on stage. Written for the Royal Court Theatre, and produced under the Auspices of a club, the show still was censored by the Lord Chamberlain. This lead to the LC's downfall. |
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| Theatre that is site-specific. A historical drama would take place in a historic manor. Schechner had a great influence on it. Spectrim, All Space, Transformed or Found Space, Flexible and Variable Focus, Production Elements speak own language, Who Needs Text? |
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| Wrote Angels in America. NYU Directing Graduate. Likes to write on Difficult subjects in contemporary history, and giving voice to the marginalized and powerless. Has also adapted some Brecht. |
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| This gentleman was a german Director (1893-1966) who was important to the Epic Theatre movement. He was director of Berlin's Volksbruhne theatre until 1927, when he was let go for his Proletarian theatre. He founded the Piscator Theatre, which used many Epic Techniques, such as paralleling what was happening that day with historical events. He was largely overshadowed by Brecht. |
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| A German Playwright, (1898-1956), He wrote many Epic Theatre works, such as "Threepenny Opera" and "Mother Courage And Her Children". He was very political, a big user of Epic Theory, and lived in exile in many countries while the Nazi government occupied his homeland. He went back to East Germany and continued writing, and eventually founded the Berliner Ensemble. Wanted his audience to be the "Boxing Match Spectator" |
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| An element of Epic Theatre Theory. Applies to the actor and audience, where you are able to stand outside of the character, and realize that it is a play. The audience should not be cowed. Alludes to having a boxing match spectator audience. There were concerns that not every play could supprt this, as the content might be lost without the veil. |
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| Started by the U.S. Government in 1935 as part of the New Deal to stimulate the economy, the government would give money to theatre companies to put on plays they approved. The FTP eventually was cut when MArc Blitzstein produced "The Cradle Will Rock", which drew heavily from Brechtian theatre. The government blocked patrons from entering. In 1939, congress finally pulled all funding. |
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| (1888-1953) This American gentleman wrote "The Iceman Cometh" and "A long days journey into Night." He studied under George Pierce Baker at Harvard in 1912. He worked with Provicetown Players in NYC, and was important to the Realism and Expressionism Theatrical movement. |
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| (1915-2005) American Playwright who wrote "The Crucible", "All My Sons," and "Death of A Salesman." Ibsen-Influence was strong in his plays, and asked how one balances personal obligations with societal obligations. Married to Marylin Monroe. |
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| (1909-1994) Absurdist French playwright who wrote "Victims of Duty" and "The Bald Soprano." He said "Do not commit yourself to anything!" He is often lumped with Samuel Beckett and Jean Genet, and had a great interest in Dadaism and Surrealism. |
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| (1913-1960) French philosopher and author, who wrote on Absurdism and Existensialism. He was the big sayer of the phrase "Life is Absurd," which meant that algthough we may never attain the infinite knolwedge of the universe that we strive for, we must keep on trying to, and "Struggle Always!" |
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| (1931-) Brazilian playwright, director, and theorist. Big into the Living Theatre, happenings, and formed many of his own theatrical philosophies through Theatre of the Oppressed (1974). Teatro Journal, Teatro Invisibal, |
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| (1933-1999) Polish Actor, Director, and Theorist. He combined the schools of going from mental to physical, and physical to mental, and said why not use them both? He founded the Polish Laboratory Theatre in 1959, which produced Akropolis and The Constant Prince. |
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| (1921-1999) American director and producer who founded the New York Shakespeare Festival in 1954. He hoped that this would make Shakespeare more available to the public. Important in Post-Stevens Regional Theatre establishment. |
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| Founded in 1947 by Judith Malina and Julian Beck, its objective was to use its art to transfer power from one major head to a more communal sharing of responsibilities. The work they drew from was Antonin Artaud's "The Theatre and It's Double". The group is still around today. |
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| Meaning is never fully present. "Meaning differs and defers", from Derrida's "Difference!" Meaning is never fixed, and communication is never closed. |
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| (1975) New York City Based experimental theatre group borne of Richard Schechner's Performance Group. Did many interpretations of plays. Postmodernism is unresolved artistic question. Law is resolved by copyright. Interpretation does not equal creation. |
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| (1956) part of the Royal Court Theatre, was a principle producer of new works. Established the "kitchen sink drama" as foremost drama movement, with "Look Back in Anger" in 1956, and "The Rocky Horror Show" in 1973. Heavily affected by Lord Chamberlain's Fall. |
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| African American Playwright, very prominent in the postmodern movement. Wrote "Topdog/Underdog" and "The Death of the Last Black Man in the Entire World." Fond of incorporating elements of language in the story, and long titles. Premiers "The American Play" at Joseph Papp's public theatre in 1994. Remembering and recording. Form (or lack of) is very important. |
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