Modernism Before WWI: Symbolism and Futurism--How do the goals of the different movements relate to each other?--How do the aesthetic choices they make relate to these goals?--How are they shaped by their particular historical moments?Modernism--Umbrella term for a variety of artistic movements in the early-mid 20th century--General Historical Contexts:--World Wars I and II--Rises of Fascism and Communism--Rise of cinema, development of cinematic technologies--Present in many arts, not just theatre--Self-named, rather than named by othersCharacteristics of Modernism--Reaction against realism--Master narratives of history (capitalism, communism, fascism, etc.)--Originality, novelty, newness--Acknowledges form of art (a stage is a stage, a canvas is a canvas)--Emphasis on technology (for good or bad)--In performance: pushes the boundaries of what we consider “theatre”Symbolism--Begins in France mid-19th century--Goal: express truths too great or profound to be shown literally or realistically--Frequent use of symbols to stand in for abstract concepts or those that cannot be represented properly--Draws from the mythic, mystical, supernatural, and dreamsSymbolist Performance--Frequently short, poetic--Characters as symbols--“Cathleen Ni Houlihan” by W.B. Yeats and Lady Augusta Gregory (1902)--Old woman as Ireland, hypnotic power of Irish revolutionary spiritFuturism--Historical context: Pre-WWI Italy--Major figure: Filippo Marinetti (1876-1944)--Likes: Italy, masculinity, technology, noise, Fascism, war--Dislikes: women, museums, pasta (men should eat meat, manly stuff)--Aesthetics: speed, simultaneity, sensory overload; antagonizes the audience--Variety show format--Short
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