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TAMU THAR 281 - Realism
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Lecture 13 Outline of Last Lecture I. General Background of the 19th CenturyII. RomanticismIII. MelodramaIV. The Well-Made PlayV. DelsarteVI. TouringVII. StarsVIII. Duke of Saxe MeningenIX. Wilhelm Richard WagnerOutline of Current Lecture I. 19th Century Continueda. Grand Operab. Guiseppe VerdiII. Historical Context on RealismIII. RealismIV. NaturalismV. Henrik IbsenVI. A Doll’s HouseVII. Hedda GablerVIII. Anton ChekhovIX. Moscow Art TheaterX. Konstantin StanislavskiXI. The Stanislavski MethodCurrent LectureI. 19th Century Continueda. Grand Operai. Typically 4-5 acts longii. Lavish sets and costumes; ornate and extravagantiii. Large choruses (30-50 people)iv. A place to see and be seen (everybody tried to impress each other)v. Ballet included in itvi. Immensely popular in 1860s (most popular entertainement in Europe)vii. Declines in popularity after a whileviii. Style declines because too expensiveb. Guiseppe Verdii. Opera composerii. Identified with Romanticism (individuality and personal freedom)iii. Writing becomes complex and characters become multidimensionaliv. His music is highly influential to other musical formsv. Famous works: “Aida”; “Le Treviota”; “Rigoletto” THAR 281 1st EditionII. Historical Context on Realisma. Industrial Revolution is in full swingb. Scientific/technological advancesc. Trend against norms continuedd. Now people question why they should rebel against normse. Movement toward authenticityf. Development of mental health and understanding psychological analysis (Freud)III. Realisma. Focuses on everyday life issues and peopleb. Deals with socially sensitive topics i. Suicide, class/gender injustices, hypocrisy, and unhappy marriagesc. Aimed to convince audience that what was happening on stage represented real lifei. People dressed normally and not like kings, queen, or nobilityii. Talked normally d. Usually censoredi. Performed in small, private theaters because of controversial topicse. Written from a morally relative standpoint (not just black and white, but also some grey areas)IV. Naturalisma. An extreme form of realismb. Everything should be authentic (very literal)c. Believed drama should edit nothingd. Most of the time it’s about the lower classese. “Miss Julie: is a naturalist workV. Henrik Ibsena. Founder of modern realismb. Lived much of his life in exile because of his controversial writingc. Major theme in his works: the destructive power of society on the individuald. Famous Works: “Hedda Gabler”; “A Doll’s House”; “An Enemy of the People”VI. A Doll’s Housea. A woman who is a good wife and a momb. Her husband call her his “little bird”c. She realizes she is unhappy in her marriage because she feels like she is an object to her husbandd. She leaves her husband and slams the doore. Door slam represented the uprising of realism (caused uproar)VII. Hedda Gablera. Woman who is daughter of a Generalb. Marries a man but gets bored with him c. Old love comes back into her life and they reminisce on their past love timesd. She feels stuck in the middle and eventually commits suicidee. Example of moral relativismf. Hedda is one of the greatest female charactersVIII. Anton Chekhova. Playwright for the Moscow Art Theaterb. Uses comedy as tool in defining tragedyc. Most of his works are about provincial ordinary peopled. Works take place in “small house outside the country” type of settinge. Famous Works: “The Seagull”; “The Three Sisters”; “The Cherry Orchard”; “Uncle Vanya” IX. Moscow Art Theatera. Located in Moscowb. Heavily influenced by Duke Sax Meningeni. Intricate setii. Historical accuracyiii. Using same actors to create ensemblec. Founded by Vladimir and Konstantin StanislavskiX. Konstantin Stanislavskia. Co-founder of Moscow Art Theaterb. Approached work as an ensemblec. Develops system of acting at Moscow Art Theaterd. Played all 4 of Chekhov’s playse. Most famous for technique of acting trainingXI. The Stanislavski Methoda. Outlined in the book “An Actor Prepares”b. Goals:i. Make onstage behavior look convincingii. Actors should play with action and objectiveiii. Onstage “life” and orchestrationiv. Work as an ensemblec. Techniques:i. Relaxationii. Concentration & Observationiii. Specificsiv. Subtextv. Given circumstancesvi. Objectivesvii. Kinesthetic


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TAMU THAR 281 - Realism

Type: Lecture Note
Pages: 3
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