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Week 10; Day 19 + 20

by: Becca LeBoeuf

Week 10; Day 19 + 20 Theatre 152

Becca LeBoeuf

GPA 3.0

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About this Document

Here are the week 10 notes. We continued our discussion on ethics. Then, we moved into a discussion about ethics intertwined with theatre.
Non Western Theatre
Bryan Vandevender
Class Notes
#Theatre #Theatre152 #NonWesternTheatre #Ethics #EthicsOfTheatre
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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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