Week 10; Day 19 + 20
Week 10; Day 19 + 20 Theatre 152
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This 3 page Class Notes was uploaded by Becca LeBoeuf on Wednesday April 13, 2016. The Class Notes belongs to Theatre 152 at University of Wisconsin - Oshkosh taught by Bryan Vandevender in Spring 2016. Since its upload, it has received 7 views. For similar materials see Non Western Theatre in Theatre at University of Wisconsin - Oshkosh.
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Date Created: 04/13/16
Week 10 Day 9 4/11/2016: Currency: ● Is It Current Enough? Relevance: ● Does your information fit your needs? Authority ● Who is the author? Purpose: ● Why was the information produced? Accuracy: ● Did they provide any evidence to show they’re trying to communicate with you? Day 20 4/13/2016: Ethics In Theatre Productio : ● Stakeholders, Law, and Issues of Representation. Stakeholders In Theatre Productio ● The playwright. ● The producer (for profit). ● The company & board of trustees (not for profit). ● Artists (director, designers, actors). ● Audiences. ● Community. Steps To Producing A Play ● Play selection. ● Licensing → permission from the playwright. ● Casting. ● Design. ● Rehearsal. ● Performance. Legal Issues In Theatre Productio : ● A performance license is a legal contract in which the playwright or playwright’s representation gives a theatre company permission to present a play or musical as it is written for a fee. Changes to text or music must be approved by the playwright or the playwright’s representation. Changes made to the text or music that are not approved by the playwright or licensing organization represent a breach of contract. ● Licensing Agreements Can Include Dictates Regarding The Following ○ Representation of the play’s temporal setting (point in time). ○ Representation of the play’s geographic setting (location). ○ Representation of a character’s gender. ○ Representation of a character’s race or ethnicity. ● A play of musical that has entered the public domain (a work that is approximately 100 years old) is free from any authorial control. Theatre artists are allowed to make any changes to the text or music that they like without the risk of legal action. Issues Of Representation ● CrossGender Casting: ○ Because of laws forbidding women from appearing on stage, male actors regularly performed women’s roles from the time of Classical Greek theatre until 1660. ● CrossRacial Casting ○ Similar laws forbade people of color from appearing on stage. Consequently, white actors also regularly performed nonwhite roles until 1825. ● Blackface Performance: ○ White actors performing in blackface were common features of American variety entertainments as early as 1790. They were also frequently found in longer narrative works such sncle Tom’s Cabi . ● American Minstrelsy: ○ A performance practice popularized by Thomas Rice in the 1820s with his “Jim Crow” shows. Minstrelsy contained songs, dances, and comic skits depicting plantation life. They also relied heavily on broad racial stereotypes demonstrated in speech, gesture, gait, movement patterns, and costume. ● Al Jolson ○ Vaudeville actors such as Al Jolson constructed wildly successful performance routines and cultivated a fervent and loyal fan base through the presentation of a minstrel persona. ● Yellowface Performance: ○ While no laws banned Asian actors from the stage per se, the practice of white actors portraying Asian characters (utilizing highly stereotyped gestures, speech patterns, makeup, and prosthetics) also has a history in Western theatre and film. ● Miss Saigon Controversy ○ In 1990, West End producer Cameron Mackintosh attempts to transfer the hit musical Miss Saigon to Broadway with its original cast which included caucasian actor Jonathan Pryce in the role of the Eurasian “Engineer.” Pryce wore facial prosthetics in the production to suggest Asian descent. American Actor’s Equity attempted to halt the transfer because of the production’s crossracial casting. Yellowface ← → Employment Opportunities
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