THAR 281 1st Edition Lecture 13 Outline of Last Lecture I General Background of the 19th Century II Romanticism III Melodrama IV The Well Made Play V Delsarte VI Touring VII Stars VIII Duke of Saxe Meningen IX Wilhelm Richard Wagner Outline of Current Lecture I 19th Century Continued a Grand Opera b Guiseppe Verdi II Historical Context on Realism III Realism IV Naturalism V Henrik Ibsen VI A Doll s House VII Hedda Gabler VIII Anton Chekhov IX Moscow Art Theater X Konstantin Stanislavski XI The Stanislavski Method Current Lecture I 19th Century Continued a Grand Opera i Typically 4 5 acts long ii Lavish sets and costumes ornate and extravagant iii Large choruses 30 50 people iv A place to see and be seen everybody tried to impress each other v Ballet included in it vi Immensely popular in 1860s most popular entertainement in Europe vii Declines in popularity after a while viii Style declines because too expensive b Guiseppe Verdi i Opera composer ii Identified with Romanticism individuality and personal freedom iii Writing becomes complex and characters become multidimensional iv His music is highly influential to other musical forms v Famous works Aida Le Treviota Rigoletto II Historical Context on Realism a Industrial Revolution is in full swing b Scientific technological advances c Trend against norms continued d Now people question why they should rebel against norms e Movement toward authenticity f Development of mental health and understanding psychological analysis Freud III Realism a Focuses on everyday life issues and people b Deals with socially sensitive topics i Suicide class gender injustices hypocrisy and unhappy marriages c Aimed to convince audience that what was happening on stage represented real life i People dressed normally and not like kings queen or nobility ii Talked normally d Usually censored i Performed in small private theaters because of controversial topics e Written from a morally relative standpoint not just black and white but also some grey areas IV Naturalism a An extreme form of realism b Everything should be authentic very literal c Believed drama should edit nothing d Most of the time it s about the lower classes e Miss Julie is a naturalist work V Henrik Ibsen a Founder of modern realism b Lived much of his life in exile because of his controversial writing c Major theme in his works the destructive power of society on the individual d Famous Works Hedda Gabler A Doll s House An Enemy of the People VI A Doll s House a A woman who is a good wife and a mom b 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 husband d She leaves her husband and slams the door e Door slam represented the uprising of realism caused uproar VII Hedda Gabler a Woman who is daughter of a General b Marries a man but gets bored with him c Old love comes back into her life and they reminisce on their past love times d She feels stuck in the middle and eventually commits suicide e Example of moral relativism f Hedda is one of the greatest female characters VIII Anton Chekhov a Playwright for the Moscow Art Theater b Uses comedy as tool in defining tragedy c Most of his works are about provincial ordinary people d Works take place in small house outside the country type of setting e Famous Works The Seagull The Three Sisters The Cherry Orchard Uncle Vanya IX Moscow Art Theater a Located in Moscow b Heavily influenced by Duke Sax Meningen i Intricate set ii Historical accuracy iii Using same actors to create ensemble c Founded by Vladimir and Konstantin Stanislavski X Konstantin Stanislavski a Co founder of Moscow Art Theater b Approached work as an ensemble c Develops system of acting at Moscow Art Theater d Played all 4 of Chekhov s plays e Most famous for technique of acting training The Stanislavski Method a Outlined in the book An Actor Prepares b Goals i Make onstage behavior look convincing ii Actors should play with action and objective iii Onstage life and orchestration iv Work as an ensemble c Techniques i Relaxation ii Concentration Observation iii Specifics iv Subtext v Given circumstances vi Objectives vii Kinesthetic response XI
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