THAR 281 Lecture 10Outline of Last Lecture: RealismI. Scenic PracticesII. Costume PracticesIII. Realisma. Realistic Beliefsb. Characters in RealismIV. Contributors to Realisma. NaturalismV. Opposition to Realisma. Independent Theatresb. Konstantin StanislavskiOutline of Current Lecture: Symbolism I. Recap of RealismII. Symbolism: 1880-1910III. Symbolist Dramaa. Friedrick Nietzscheb. Richard Wagnerc. August StrindbergIV. Antirealist Directora. Vsevelod Emilievich MeyerholdCurrent LectureRealism Recap:Goal of realism: mirror reality, create real life on stage.Realism theatre trends: not realismSymbolism: 1880-1910- “depict not the object, but the effect which it produces” Stephanie Mallarmeo Depicting an effect: expresses a psychological impact.These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.o Portraying something not tangible.- People are interested (artists) in the same things, why? o Natural progression of interests, they build on each othero Global! Everyone knows about artists and philosophers influencing the world!Symbolist drama:- Depict the inner life: feelings- Express the inexpressible: portraying feelings, don’t have words to describe. Left speechless.- SuggestiveTheatre should depict… “shadows, reflections, projections of symbolic forms.” – Maurice MaeterlinckEasier to see than explain.- No plot action- not many people watch, hard to follow and understand story in symbolistic drama.- Lyric drama- dance like, a giant metaphor.o Metaphor, ex: the heart of a lion, a comparison. Example:“this empty box is my life”- MUSIC! Lots!- Poetry, not like realistic language- Evocative & ceremonial- ritual likeFriedrick Nietzscheo Said god is deado Friedrick Netizche- influencing symbolism and this type of worko Perspectivismo Moralityo ExstentialismRichard Wagnero 1813-1883o Germano Dramatic composero Mytho Opera composero A lot of his music was popular for symbolist drama.Melancholia: Lars Von Trier directedo -perfect example of symbolism in theatreo -watch play, lots of attempts to express emotion, no talking just images.o Symbolism present: bride, running with vines around her legs. Trapped by roots and nature.o What is represented? The bride doesn’t want to be tied down…Nature is against humanity…Way it is perceived makes it more personal!!!Symbolism forces viewers to think and ask why.August Strindbergo Nutcase, librarian, journalists and dramatisto Wrote A Dream Play and series Road to Damascuso Had spiritual reformation, bouts of insanity…o He felt estranged from the rest of the world, didn’t fit in.A Dream play: about daughter of god who comes to earth to seek humanity, and see why they complain. She experiences joy, but mostly death and tragedy, sadness. She decides in the end to pity humans. She returns to her home, and wakes up, it is thought to have been a dream.Road to Damascus: about Strindberg’s life, very symbolic of his journey through life. Lyrical dialogue, reminiscent of dance, ceremonial characters, wedding occurs, bride dies.Antirealist Director:o Opposite of Stanislavskio Vsevelod Emilievich Meyerholdo From Moscowo Student of Stanislavskio Russian worked in Moscow and went to school at Moscow Art Theatreo Meyerhold experiments “director’s theatre”- Everything happens for director’s mission and goals Found spaces- Work in places not intended to be theatres Eliminate “fourth wall”- wall btw. Stage and audience (not realistic wall)- Meyerhold breaks this wall- Leaves on house lightso Why? So that you can see the reaction of those around you as well as what is on stage. - Action in the audienceo Actors in the house “Theatricalism” - Makes the audience aware of the performance- Show everything that makes the performance not real- Makes the audience aware it is not reality.- Heavy emphasis on physicality of the actors. Biomechanics- Actor’s body= machine- Emphasized external physical training- Create an internal response, based on your physical action- Etudes- specific positions he created and it’s motions.o Constructivist Settings Highly theatrical- not realistic Practical apparatus for actors to manipulate (giant machine) Skeletal frame- Shape, but not real form.- Ramps, stairways, platforms Set was and “extension” of actors body… Luibov Popova- scenic designer who worked with