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nogaku
- 14th century
- No means skill
- developed by Kan'ami and Zeami
- influenced by dengaku (ritual) and sarugaku (type of theatre popular during the time.
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kan'ami Kiyotsugu
- 1333-1384
- actor writer of sarugaku
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zeami motokiyo
- son of kan'ami (1363-1443)
- wrote the Book of the Flower (asethetics of No, how it is played)
- refined the art
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waki
secondary performers
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jiutai
- chorus "earth singers"
- group of chanters
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Hayashikata
- musicians
- 2 or 3 percussionists
- 1 flute
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categories of noh plays
- God
- Warrior
- Women
- Miscellaneous (mad characters)
- kiri no (final, supernatural demons)
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Jo-Ha-Kyu
- opening (slow), breaking and quickening
- God plays are Jo
- Warrior, female and Misc are Ha
- Kyu (Final)
- Ha can be further broken down to Jo (Warrior), Ha (Female), Misc (Kyu)
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neoclassism
- human nature is same in all places and at all times (universal traits and behavior)
- likeness to life (plausible, no fantasy)
- generalized sets and costumes
- almost completely reversed by 19th century
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Romanticism
- rejected strictures (can have subplots)
- individuality, appeal to emotions, passion
- everything has common origin, part of greater whole-->welcome detail, truth in infinite variety of creations.
- 1800-1850
- higher truth beyond earthly existence
- sets look like outdoors (closer to nature, closer to truth)
- follow the dictates of own conscience
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melodrama
- musical score used to emphasize emotions of scene
- suspenseful plot
- good rewarded, bad punished.
- characters are stereotyped
- tableaux (frozen picture of the characters)
- coincidences, concealed identities
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duke george II of saxe-meiningen
- director of meiningen players
- ensemble work
- lavish productions with great historical details
- crowd scenes (many people on stage) and rehearsals
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realism
- attention to social issues (more people to ponder and change things)
- stage action (everyday life)
- complex characters with psychological motivation (why do we do this)
- no subject matter is inappropriate
- truth through science (observable), figure out what makes characters tick, subtext (characters don't say everything they feel)
- -no neatly resolved situations
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naturalism
- emphasis on heredity and environment
- this affects behavior
- depict mundane events (no rising or falling action)
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dollhouse
henrik ibsen (1828-1906)
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theatre libre
- 1887 (part of independent theatre movement)
- set up by andre antoin
- subscription service
- combined realism and naturalism, plays that was not censored.
- eliminate presentational aspects (real food on table, beef hanging)
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well made play
- melodrama can be a well made play but well made play cannot be melodrama
- -eugene scribe (1791-1861)
- formula: exposition (bkgr), surprises, suspense/secrets, climax/reversal, resolution (clear, explained)
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moscow art theater
- 1898
- explored all forms of theater, nothing specific
- already have real set, but not it's bringing life to stage (actors)
- public education (invite audience in, lectures, meet playwright)
- realistic approach to acting (studio next to theatre)
- lengthy rehearsals, harmonious ensemble, research into historical detail, actors integrated with space, blend of acting and scenic.
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symbolism
- increase emotional experience in viewer (color, line, composition)
- spirtual value to a work/art should reflect emotion or idea
- images: mythology, biblical sources, dream worlds, the fantastic
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symbolism theatre
- poetic theatre
- atomsophere and mood precedence over everything else (candescent light uses gel)
- -universal themes
- symbols evoke feelings
- present mystery of being
- characters are figures represent something
- avoided: social problems, recreating physical environment and historical detial
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symbolism stage setting
- scenery (drapery, undefined forms, whatever is appropriate to play)
- costume (simple, colors determined by mood of play)
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theatre d' art
- 1890-92
- paul fort (1872-1960)focuses on symbolism
- scenery is deemphasized (scrim)
- stylized vocal and physical techniques
- new plays, poetry, literacy adaptations in plays, mainly single performances
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Theatre de l'Oeuvre 1893-99
- everything was possible
- obscure goes very far.
- Alfred Jarry’s nihilistic farce Ubu Roi
- started by Lugne-Poi
- He sought to create a theatre of poetry and dreams while staying true to his motto, "The word creates the decor.
- the acting stylized
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futurism
- filippo sommaso Marinetti 1909 futurist manifesto
- vaudeville acts, juggling, dances, gymnists
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dada performances
- 1916 (Cabaret Voltaire cafe)
- anarchistic sound and chance poems
- theme nights
- collaborative contributions
- songs and recitations
- sound poems (phonetic poetry)
- simultaneous poems
- dances, skits, collage
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futurist serrata
- improvised evenings
- spontaneity/had own version of music, poetry
- enrage audiences aimed to shake audiences out of complacency
- mingling of audiences during play
- multimedia (poetry, kinetic art with movements, noise msuic, sintesi)
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sintesi
short skits of ideas (part of futurist serrata)
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author of adding machine
elmer rice
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german expressionism
- 1912-1925 turmoil within person is expressed outward
- it is the subject rendering of internal world (everything from their point of view); focus on character reflection of his mindset; truth is found within
- want to be alienating, doesn't connect, subjective view of protagonist
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expressionist techniques
- message centered around theme
- episodic (station drama): series of scenes b/c that's how we see our life and our day.
- search or pilgriumage
- external appearances are distorted (focus on one character)
- exaggerated shapes, abnormal use of color
- speech: short or monologue (what character is thinking)
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expressionist staging
- groupings (mass actions, uniformity)
- scenes: sequence of events
- focus on one character=archetypes
- use of grotesque (things moving beyond their bounds (distorted reality, zigzag stairs)
- unusual lighting effects
- movement mechanical
- mask like makeup
- costume: minimal, clashing colors
- mixture of verse and prose
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expressionist acting
- not Stanislavisty: no internal aspects, display abstract, focus on main character.
- principles: no excessive gesture, use of signals (use finger to point a way to focus)
- focus (made apparent)
- exaggeration (economy and focus, larger than life gestures)
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first american theater
williamburg VA
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what are early american theatre center
- chestnut street theatre
- park theater
- federal street theater
- city theatre
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american little theatres
- toy theatre (boston)
- chicago little theatre (eggy, artsy, shocking)
- for the weathier crowd
- moving away from syndicate
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synidicate threatre
- vertical integration: own means of production, how it is where it is the box office (anti-trust laws later)
- did whatever that made money, no talent forming
- lawyers were the producers
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provincetown players
- 1915
- by cram cook and susan glaspell (new american plays only)
- first legitimate academic course
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the experimental theatre
- eugene o'neil, kenneth macgowan
- robert edmund Jones (1887-1995): new stage craft in America (creating space for show, theatre magazine (separation between commercial and local theatre)
- create artitist environment (the Hairy Ape)
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theatre guild
- 1919
- washington square players (1915-1918): other plays instead of just American ones
- European model: subscription based
- 1931 members defect to form group theatre
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american laboratory theatre
- 1923-1933
- the theatre arts institute (begin of academic institution), physical training in the stanislavisky system, training program of 3 years
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african theatre (Ny)
- 1821
- william henry brown
- similar to white playhouses
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ira aldridge
(speacialized in shakespeare)-went to europe highly acclaimed
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minstrel show
- Zip Coon, uran more sophisticated than Jim Crow
- bases for vaudeville
- format: vocal numbers/comic chat
- the olio: special acts (men in blackface), singing a song, balancing plates, etc
- wrap up with sketch: plantation scenes (foolishness of actors comic/derogatory)
- blacks use mask too
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Thomas Daddy Rice
- 1806-60
- created the original jim crow
- father of american minstrel
- limitation of blacks just to singing and dancing
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The Chip Woman's fortune
W. richardson, first nonmusical black show on Broadway
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Federal Theatre Project
1950s kept the little theatres going through the war, even through segregation
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Greenwich Mews Theatre
- off Broadway plays
- things that all audience are able to relate to.
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amiri Baraka
- 1934-2014
- the slave (first few aa beat writers)
- the toilet interraical gang discuses who hould be killed (brings up provocative questions)
- slave ship (added smell)
- 1960: leader of the black arts movement (theatre as a weapon)
- helped to open black arts repertoire theatre and school
- meeting of black power (Newark NJ)
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author of bog of cats
- marina carr
- plays are filled with greek illusions and has timelessness
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author of matsukaze
- kanami
- revised Zeami Motokiyo
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a doll house
henrik ibsen
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the adding machine author
elmer rice
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dutchman author
amiri baraka
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group theatre
- harold clurman, lee strasbey, cheryl crawford
- modeled on the moscow art theatre, ensemble approach, socially relevant drama
- popularized the Stanislaviski system
- set standards for realistic writing and performance
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fed theatre project in 1935-1939
- FDR establishes Works Progress Administration
- supported theatrical ventures t/o US, cities act as host
- plays, vaudeville, social commentary, free or low fee
- living newspaper: around current events.
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Yukihira
lover of Matsukaze and Murasame
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Matsukaze takes what to be Yukihira
pine
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carthage kilbride
hester's husband
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monica murray
hester's neighbor
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emile zola
naturalism in the theatre
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anti-realism
expressionism
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Kristine Linde
Nora's friend
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Krogstad
originally the antigonist in the play
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howard wagner
willy's boss
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high school football star
biff
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bernard
smart, but not well liked, charley's son
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brother ben
goes to alaska, found diamond in Africa strikes it rich
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bill oliver
biff's old employer
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dave singleman
legendary salesman
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