Theatre

14th to 17th century

Popular theatre (for masses), Humanist theatre (upper class, recreating), Liturgical drama (Scripture, biblical theatre)

"Comedy of the profession", Traveling theatre companies in 1500s Italy

Comedy that stresses farce and horseplay (physical, bawdy humor like Southpark, Tom and Jerry, ETC),

Stock characters, masks (half masks), Lazzo (rehearsed character specific bits they could throw into the show), no scripts (heavily improvised)

the harlequin, comic servant, romantic

Old rich and greedy, the villian

servant or lower class character, lustful and a liar

Impish and ugly servant, Scheming and cunning

doctor, inadept - smart but incapable

the captian, the braggart

the lovers, isabella and Flavio, unmadked, focus of plot

Female servent, witty, smart, attractive, mistress to the Harlequin

15th to 17th century

bringing back the theatre of the greeks and romans, specific to France, started in France in 1600s, L'Academie Francaise, Alexandrine Verse

Humanism (the reflection of what it means to be human), Classicism (favoring classings)

french academy, policed literature to be sure that the French language was held to a high standard (withholding tradition)

Iambic, 6+6

times, place, action

Pierre Corneille (1606-1684, rule breaker, Le Cid), John-Baptiste Racine (1639-1699, rule follower, Phedre), Moliere (1622-1673, Tartuffe, the Misanthrope, Close to Louis XIV)

A play where a guy was pretending to be a devoted catholic to steal another man's wife

1558-1642

private theatre in the court of nobility, woman could perform

Officers of the theatre to be sure that plays were approved

Blackfriars, The Theatre, The Rose, The Globe

The Lord Chamberlain's Men (The King's men) acting troop in England for the king, Actor to Script Doctor (editor) to Writer

Content was dirty, not meant for upper class, appealed to groundlings, edited years later

Sets and costumes were minimal, women couldnt be on stage, Audiences and the groundings

Christopher Marlowe (Doctor Faustus, mestapholes), Thomas Kyd (revenge tragedies), Ben Johnson (lot of words)

1500-1945, modern drama (1870-1950)

(la piece bien patite) Happy feeling at the end, Formulaic and affirmed conservative values, Eugene Scribe

(1791-1891), 400 plays, Well-Made Play

Plot based on facts known by the audience but not known by some or all of the characters, increasingly intense action and suspense, main character's luck changes often, quiproquo (central misunderstanding), logical denouemont, obligatory scene

Theatre that attempts to create an illusion of reality through a range of dramatic and theatrical strategies, Charles Darwin and Sigmund Freud, put people on stage and see what happens

(1840-1902) Contributor to naturalism, playwright

Realistic characters and behavior, not theatrical, meaningful life-altering significance, straight forward plays

Create fidelity and "real life" to preformance, Focus on the individual

a play that brings a societal problem to life, doesnt propose answers, helps people realize the problem exists

Plays that take place in a middle calss living room

(1858-1943) France, Teh Father of Mise-en-scene, Box Set

free stage, theatre based only on subscriptions

a person paid to cheer or boo depending on who paid him

(1828-1906) Norway, Father of modern realism, A Doll House

(1860-1904) Russia, "Theatre of Mood", Three Sisters, Father of Subtext

Capital "T" truth behind the meaning of life, (Symbolism, Expressionism, Dadaism, Surrealism)

Spiritual side of life, use of symbols to convey ideas, metaphot to convey inner truth, Symbolist Artist: Edgar Allan Poe, Playwriting: Maurice Maeterlink

Use of subjective experience/ perception to convey that truth lies in the subjective Playwriting: Sophie Treadwell

Use of distortion/ nonsensical to convey that life has no meaning, came about duringWWI

Use of juxtaposition of the familiar and non-familiar to bring the unconscious mind forward and find the truth, developed from Dadaism, Key Figures: Galiiaume Appolinaire, Salvador Dali

(1950- now) Response to moderism, there is not one truth but many truths

Cultural falttening, knowingness, intertextuality, eclectism, surface effects, identity

(10 Feb 1898-14 Aug 1956) Theatre director and playwright, plays: Mother Courage, The Life of Galileo Galalee

opposite of traditional, very political, v-effect, Touch teh intellectual mind of the audience not their emotional senses

The alienation of distancing effect, Escapism allows the audience to remain subservient

Devices Brecht used to acheive the escapism effect

(1906-1989) Irish but lived in France and wrote in French, playwright, novelist, short stories, one of the first postmodernists, very theatrical

1960s, rejects realism (life makes no sense.. so why should theatre?) Exitentialism, Eugene Lonesco,

(what gives life meaning?) we create meaning, nothing creates meaning, we have no self.. but fragments from other things that make us who we are

People choose their own path and find their own purpose