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THTR 1020 Week 10 Notes

by: Ashley Bourgeois

THTR 1020 Week 10 Notes THTR 1020

Marketplace > Louisiana State University > THTR 1020 > THTR 1020 Week 10 Notes
Ashley Bourgeois
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About this Document

These class notes cover all of Week 10. Monday was watching video projects. Wednesday & Friday had to do with Absurdism and 20th Century Theatre!
Class Notes
Absurdism, 20thCentury, theatre




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This 7 page Class Notes was uploaded by Ashley Bourgeois on Monday April 18, 2016. The Class Notes belongs to THTR 1020 at Louisiana State University taught by King in Spring 2016. Since its upload, it has received 9 views.


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Date Created: 04/18/16
WEEK 10 04/18/2016 ▯ Monday 4/11 -- In class: Watch class video projects ▯ ▯ ▯ Wednesday 4/13 – In class: Finish watching class video projects & Notes  NO THANKS, REALISM TH o THE 20 CENTURY  Movies undermine theatrical realism  Why?  SO there is a reaction AGAINST realism as a form  Truth with a capital “T” is the new priority  But getting there is not obvious or easy  Realism tries to show truth with a “t” – little, mundane truths  But there is a Truth with a “T” that is not TH TH explained / shown in realism o 19 – 20 CENTURY TRANSITION  How did we get to the style of theatre seen today?  Theatre, like anything, accumulates and references its own history.  Realism and social realism showed NEW THINGS on stage that challenged people’s expectations  But… realism itself was challenged by… o THE AVANT—GARDE  We get this idea that it just means “weird”  It actually means many specific things to its many makers  Avant-garde  Literally “on the front lines” can describe any artist or work of art that is abnormal, experimental, innovative, or unconventional  Common thought that links the different groups is that “surface reality” is not enough  Theatricalism  A nonrealistic style of theatre that calls attention to theatrical elements and composes a ‘theatre of images’ o REPRESENTATIONAL VS. PRESENTATION  Representational staging  The creation of a completely realistic illusion  Realism=complete illusion of reality  Observable reality  Objective  Presentational staging  Recognizes the audience’s awareness of theatrical manipulation  Reality is already an illusion  Reality is not directly observable  Subjective  GERMAN AND AMERICAN EXPRESSIONISM  Early 1905 – 1922  Use of deliberate distortion to create feeling of distortion in the audience  Getting caught up in the machine as a major paranoia of the modern, Industrialized age  Theatre of the shriek  Pacifist reaction to arms buildup in Germany  Fear of dehumanization  Loves the humanity and is terrified of machines  Ex: Sophie Treadwell’s Machinal  It’s like an office with all these voices and noises w/o identity to the voices  They’re all the phone and talking about each other but not to each other  No character names o To emphasize machinery with technology ▯ ▯ Friday 4/15: In class – Continue Wednesday’s lesson/notes/discussion ITALIAN & RUSSIAN FUTURISM o Obsessed with  Progress, machines o Totally opposite of expressionism o The past should be destroyed through performance o Cyborgs o The age of the machine  Celebration of this  Machines is the way forward and going forward is the only thing o Aggressive and warlike o Abstract, but not interpretive o Sintesi  The idea that you can create an environment that lasts for a very short time  They are manipulating expectations for theatre  Ex. The exercise in class when we pretended to be in a café and all had different roles but all we were saying were sounds – it was synthetic chatter o One of the main problems with Futurism  It was associated with fascism  Losing the human and giving it over to fascism is an issue SYMBOLISM o Using allthhe senses o Late 19 century o It is the movement that set the Avant-Garde going in Europe o Inner Truth  Is revealed through spiritual symptoms  The “T” Truth o Seeking “communion of souls” o Idea was to transport performers and audiences to a new dimension through metaphor and suggestion o The surface of things can represent and communicate with ‘something’ extra-sensory o Ex. Rachilde’s Crystal Spider  It’s very poetic, there’s an appeal to language  It uses language in a different way – to be pleasing to the listener  It makes more sense than other –ism’s Dada o Confusion is key o Does not like war o Theatre that mirrors the ‘madness of the world’ o Anti-analysis, anti-art?  Dada is not about being used for academic purposes or analytical purposes.  The fact that we are talking about it in a classroom and analyzing it is anti-Dada o Temporary o Anti-academic… They would hate that we are talking about them right now. o Language is insufficient to communicate human experiences  Very much a precursor to Absurdism o Zurich, Paris, and Berlin, chiefly o 1910s and 20s, but lasting impact on theatre  Shortest of all the avant-gardes o Concerned with how war (WWI specifically) breaks a part the human body  People were living without limbs for the first time  This war was a catalyst for Dada because they were obsessed with the human body and the dissembling of o Obsessed with collage  Create a “non-meaning” o Ex. Video watched in class  Idea that objects and props get lives of their own  Parts of the body are detached and have movement of their own a part from the body SURREALISM o Life is a dream  Means over-realism o They have skills that they cultivate in surrealism o Memory o Like the Symbolists, experienced a fracture in soul/body divide that could be thwarted w/ theatricality o Getting in touch with the “unconscious” realm o Automatic writing-producing words w/o consciously “writing”  Free writes  Put pen down to paper and write write wirte  This was practiced regularly o First play performed in 1917 o Manifesto in 1924 – Andre Breton  “Being awake is not the way to truth. You can only know truth if you were in a dream-like state.” o More about the mind o Exquisite corpse  Like Mad Lib game THE MANIFESTO! o Document that states the aims and intentions of artistic movements o List of aims from different manifestoes:  “1. It’s stupid to write one hundred pages where one would do… life itself consists of actions vastly more awkward, uniform, and predictable than those which unfold in the world of art…”  Futuristic Synthetic Theatre F.T. Marinetti 


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