The Internet & Theatre Styles

Teachers and students are free to copy and print this document for educational purposes. Please leave copyright information intact. Do not post on another website.

Justin's Theatre Links http://www.theatrelinks.com

In this unit of lesson plans, students use the Internet to understand various theatre styles and research the practitioners responsible for their implementation. Familiarity with using the Internet will prove an advantage, but not a necessity. Essential resources include a computer (classroom) with Internet access.

Constantin Stanislavski and Realism

Constantin Stanislavski is best known for developing a system of acting and personal development, advocating realism in the theatre. He is arguably one of the two most influential figures in 20th Century theatre. At the heart of realism are believable characters and action.

http://www.theatrelinks.com/stanislavski.htm

http://www.theatrelinks.com/realism.htm

Visit the links on Stanislavski and Realism, noting in your workbook responses to key questions outlined below:

What was Stanislavski's date of birth and death?
When was Stanislavski's work taking place and in which country?
Name other practitioners and playwrights Stanislavski worked with?
What was the name of the theatre Stanislavski established?
Describe Stanislavski's 'system' and its key goals.

Find a copy of a recent newspaper. Cut out one headline at random and then offer it to another group in the class, swapping their chosen headline for yours. Whether or not you are aware of what the headline may actually be referring to, your task is to re-enact the circumstances (via actual knowledge or educated guesswork) as realistically as possible. Rehearse and perform the scene for the class. Things to consider include:

believable characters
audience empathy with characters
life like blocking of character movement
only one role per actor
realistic costumes
carefully considered gestures
believable use of voice by the actors

Emile Zola and Naturalism

Emile Zola is often a forgotten figure in the development of modern theatre. He was not a theatre practitioner, as such, but nevertheless his legacy is significant. Perhaps more than any other person he best described the science of naturalism, paving the way for theatre practitioners and others to put the theory of naturalism into practice in their profession. Naturalism and realism are sometimes incorrectly used as interchangeable terms in the theatre. Unfortunately, when separated, they are often used inappropriately. Your task is to understand naturalism properly and the differences between it and realism.

http://www.theatrelinks.com/zola.htm

http://www.theatrelinks.com/naturalism.htm

Visit the links on Emile Zola and Naturalism, noting in your workbook responses to key questions outlined below:

What was Zola's date of birth and death?
What was Zola's profession(s)?
Where was Zola's description of naturalism published?
Detail the distinct (sometimes subtle, often forgotten) differences between naturalism and realism, as they apply to their practice in the theatre.

Choose a monologue from Henrik Ibsens's A Doll's House. Rehearse and perform the monologue before the class using as many naturalistic techniques as possible. This play will lend itself to realism or naturalism, anyway. Be sure to understand naturalism must go beyond mere realism, with:

precise character actions
detailed blocking of moves and gestures
believable character voice
authentic costumes and props
an overall picture resembling photographic detail of the period in question
historical accuracy

In order to understand historical aspects of the play, you may wish to visit A Doll's House study guide links.

http://www.theatrelinks.com/study.htm

Non-Naturalism

Below are various theatrical conventions (acting and staging techniques) that occur in non-naturalistic theatre. I hope they assist you in your studies......

Non-Naturalistic Theatrical Conventions

use of multiple time frames

stylised movement

use of fragmentary costume

actor playing multiple roles

use of projection to convey a message

use of narrator(s)

use of placards and signs

open white stage lights (no colour gels)

actors as props and/or set pieces

use of song or poetry to convey a message

visible stage lights and other equipment

sophisticated use of freeze frames

monotone use of voice

transformation of props

use of music

limited use of emotion

use of flashbacks and flashforwards

happy scenes performed sadly and vice-versa

fragmentary sets

limited physical involvement between characters

actors swapping roles in performance

actors speaking stage directions aloud

self-contained episodes (not scenes)

characters with backs to the audience

speaking directly to the audience in performance

narration that spoils upcoming dramatic tension

symbolism through movement and gesture

stylised use of voice

Bertolt Brecht and Epic Theatre

Along with Stanislavski, Bertolt Brecht is the key figure of 20th Century theatre and arguably the most important theatre practitioner since World War II. His theories, painstakingly implemented by Brecht himself, have influenced much of world theatre since his death. Brecht's theatre is the very essence of non-naturalism and understanding it will greatly assist any Drama student in comprehending what lies behind most modern theatrical performance.

http://www.theatrelinks.com/brecht.htm

http://www.theatrelinks.com/epic.htm

Visit the links on Bertolt Brecht and Epic Theatre, noting in your workbook responses to key questions outlined below:

What was Brecht's date of birth and death?
How did Hitler's rise to power in 1933 affect Brecht's career?
Why did Brecht call it Epic Theatre?
What countries did Brecht visit after leaving Germany?
What were Brecht's major plays and where were most of them written?
Describe in your own words what Brecht meant by alienation-effect and what is the German word for this term?
Brecht's was a didactic drama. What does this mean?
Brecht collaborated with another theatre practitioner. Who was he? Both men were influenced by a style of theatre in Germany in the 1910's. What was it?
Brecht was a staunch Marxist. In simple terms, what is the meaning of Marxism and how did this theory affect Brecht's drama?
Detail a few of the acting techniques used in Brecht's Epic Theatre (compare these with realistic/naturalistic techniques).
Detail five staging techniques used in Brecht's Epic Theatre (compare these with realistic/naturalistic techniques).
Brecht established one of the great theatre companies of the world. What was its name?
In 1947 Brecht was summoned before the House Un-American Activities Committee. What was this and why was Brecht called to appear before it?
In summary, what do you think is meant by the term non-naturalistic theatre?

Choose an important issue in society that is not relevant to the personal circumstances of anyone in your group. Now that you are completely detached from the issue, but recognise its significance, research it in libraries, on the Internet, and perhaps writing to or e-mailing appropriate associations or bodies for information. Rehearse and perform a scene that is to be didactic in nature. The purpose of your performance is to teach or instruct your audience about the chosen issue or topic, via theatre (as Brecht did). There can be moments of comedy and tragedy in the performance, but its factual background must be accurate (for example if your performance is an awareness piece on HIV/Aids, you will need to ensure your information is correct). Use as many of Brecht's techniques in your performance as possible, including:

use of a narrator
simple or fragmentary costumes
basic open white stage lighting
fragmentary props and scenery
actors swapping characters mid-scene
actors playing multiple roles
actors occasionally speaking directly to the audience

Jerzy Grotowski and Poor Theatre

Polish theatre practitioner Jerzy Grotowski established an acting ensemble upon which to practise his many theories on modern theatre. The actors underwent extensive physical training and often spent many months rehearsing a play, which in some cases would only be performed once, to an audience of less than sixty people. His Poor Theatre style of drama was very popular during the 1960's and '70's and was imitated by theatre troupes around the globe. Grotowski's influence on world theatre has been substantial.

http://www.theatrelinks.com/grotowski.htm

http://www.theatrelinks.com/poor.htm

Visit the links on Grotowski and Poor Theatre, noting in your workbook responses to key questions outlined below:

What was Grotowski's date of birth and death?
What did Grotowski call his theatre establishment?
Why did Grotowski call his style of drama Poor Theatre?
Who or what was the most important thing in Grotowski's theatre?
Offer one example of what you might call Rich Theatre today? Justify your response with an explanation.
Detail some of the unique rehearsal and performance characteristics of Grotowski's Poor Theatre.
In Grotowski's theatre, what was the spatial relationship between actor and audience? Distant? Intimate? Describe the typical performance space.

Find a list of quotations made by famous people in history. Choose several of these quotes and discuss amongst the group the various possible meanings behind them. Rehearse and perform a scene based on these quotations, using some or all of them in the scene itself. See if you can suitably communicate with your audience in Grotowski's style of Poor Theatre. The scene must have:

a shared actor-audience space
actors performing in and around other class members (the audience)
no sets, props, lighting or music
simple costuming
actors as paramount
different levels of staging, if possible (eg. rostra)

Antonin Artaud and the Theatre of Cruelty

Understanding Artaud and his theories about the theatre can prove to be quite a difficult task. Whilst sharing some ideas with Grotowski (mainly the holy, ritualistic nature of theatre), Artaud also presented many opposing views to the Polish theatre practitioner. Artaud's theatre is somewhat anti-literary (does not rely on the text to communicate meaning to the audience) and is primarily a loud and often violent movement-based experience which shocks the audience's senses. His Theatre of Cruelty is perhaps most closely linked to Surrealism in the performing arts. Artaud's influence on 20th Century theatre has been widespread.

http://www.theatrelinks.com/artaud.htm

http://www.theatrelinks.com/cruelty.htm

Visit the links on Artaud and the Theatre of Cruelty, noting in your workbook responses to key questions outlined below:

What was Artaud's date of birth and death?
Artaud spent several years of his life in what type of institution?
Define surrealism.
What was the name of the book in which Artaud's collected essays/theories on theatre exist? Explain the reason why you believe this book is titled such?
What were Artaud's views on the society of his time?
What were the main purposes of the Theatre of Cruelty?
What significant world events do you believe may have directly influenced Artaud and his work?
Describe the main acting characteristics of the Theatre of Cruelty?
Describe the main staging characteristics of the Theatre of Cruelty?
What was Artaud's theatre a reaction against?

Choose a well-known fairy tale and perform it in the style of Theatre of Cruelty. Ensure you address as many of Artaud's staging and acting techniques as possible. Select a fairy tale with a particularly gentle storyline, so as to challenge yourselves with the method of presentation. Some suggestions include:

grotesque, disturbing movements or violent and horrifying images (check with your teacher as to the degree of 'violence' allowed)
loud sound
intense, colourful stage lighting
effective use of screams, moans and chanting

Existentialism and the Theatre of the Absurd

Existentialism is the theory behind the unconscious movement Theatre of the Absurd, which is perhaps more of a genre than a style. Significant practitioners were not traditional theoreticians and directors, but instead were major playwrights. The movement leapt onto the world stage in the form of unconventional plays, primarily by European (and later American) playwrights. Absurdist theatre directly influenced much of European drama for more than ten years and within it lie some of the best plays of the 20th Century.

http://www.theatrelinks.com/absurd.htm

Visit the links on Existentialism and the Theatre of the Absurd, noting in your workbook responses to key questions outlined below:

Once you have learnt how to correctly pronounce existentialism (not the simplest word in the English language), in your own words try to define what it means (more difficult than pronouncing it!).
Who were some of the key people behind the theory of existentialism?
What does absurd mean in the context of this movement?
What were the two decades where the Theatre of the Absurd was impacting on world theatre?
Today, significant international theatre harbours around London's West End district and New York's Broadway. At the height of its influence, the Theatre of the Absurd and much of European drama centred on which city?
Name three Absurdist playwrights and list their major plays.
What was unusual about the plot structure of most Absurdist plays?
Analyse the pace of an Absurdist play. They were often characterised by what type of movement on the stage?
What was the status of language in Absurdist plays? Was it important? What role did it play and why?
What are some of the connections between the theory of existentialism and the subject matter of many Absurdist plays?

Choose an extract from an Absurdist play such as Samuel Beckett's Waiting for Godot. Rehearse and perform the extract using Absurdist techniques. Choose a small area of the classroom or perhaps outside, and allow the space to dictate the nature of the piece. Aspects to give careful consideration include:

the method of language delivery by the actor
the pace of the scene
the use of pause (crucial in Godot, for example)
aspects of clowning, slapstick and vaudeville (if appropriate)

Augusto Boal and the Theatre of the Oppressed

South American theatre practitioner Augusto Boal has worked with many people, primarily in Brazil. For some years he was a city councillor in Rio de Janeiro where, through the use of a special type of interactive theatre, he heard the voice of the people, using his political position to make their world a better place. Boal's influence has been significant and his workshops in various countries around the world garner much anticipation from the theatre community. His theatre knows no boundaries and is as relevant for the people living in the slums of Rio to teenagers in the schools of Australia.

http://www.theatrelinks.com/boal.htm

http://www.theatrelinks.com/oppressed.htm

Visit the links on Augusto Boal and the Theatre of the Oppressed, noting in your workbook responses to key questions outlined below:

Why do you think Boal titled his style of practice Theatre of the Oppressed?
What is Forum Theatre? What does it involve from the actor and audience?
Describe Invisible Theatre? How does it work?
What are some of the issues people working in this style often raise with practitioners such as Boal?
What do you think of this special blend of theatre and politics? Does it have its place in modern culture?
In what ways has the role of theatre in society altered with Theatre of the Oppressed?
How is Boal's theatre similar to the purpose of much of Brecht's didactic Epic Theatre?

Discuss issues affecting teenagers in today's society. Have class members offer personal experiences to the group. Choose a significant issue that the class believes requires government legislation in order to make the situation better in the future. Rehearse and perform the piece as an ensemble. Research the issue as part of the rehearsal process using resources such as libraries and the Internet. Or perhaps you could perform a scene in the style of Boal's Forum Theatre, using audience interaction in the second, public performance of the scene. Allow class members to adopt roles and perform the scene as they see fit, in order to establish change for the better, in the world of the scene.