THEATRE ORIGIN THEORIES

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THEATRE ORIGIN THEORIES

Late 19th and early 20th centuries Theatre thought to have emerged out of myth and ritual Theory supported primarily by anthropologists Belief that both desirable and undesirable forces of supernatural or magical origin influenced food supply and well being Actions by the group (or its shamans) could influence the forces for good through fixed ceremonies or rituals. Rituals contained elements that were also entertaining and gave pleasure thru repetition.

Stories (myths) that explain, disguise, or idealize, grew up around ritual. Myths include representatives of those supernatural forces that the rites celebrate or hope to influence. Performers may wear costumes and masks to represent the mythical characters or supernatural forces. Over time the society may abandon or modify some rites. But the myths may continue as part of the oral tradition and may be acted out under conditions divorced from ritual concerns. This is the first step toward theatre.

Post WWII All human transactions seen as basically performative Supported by different anthroplogists Enactments of relationships with specific purposes. Elements found in both ritual and theatre Ritual and theatre seen as different ways of organizing and using elements that are basic in almost all human activities. Ritual and theatre are simply different ways of organizing and using elements basic to all human activities. Both coexisted but used for different functions within the same society.

Performative Elements and Functions Time Place Participants (players/audience) Scenario (agenda/goal/text/rules) Clothing (uniform/costume/mask/makeup) Sound (speech/music) Movement (gesture/pantomime/dance) Function or purpose How each of these elements created and combined with others and for what ultimate purpose distinguishes one kind of transaction from another

Other Theories of Origin Storytelling thru words or pantomime and impersonation Imitations of animals or out of narrative forms of dance or song Aristotle sees humans as naturally imitative (mimesis) Humans have a gift for fantasy that may be used to reshape reality. Theatre is one tool whereby people define and understand their world or escape from unpleasant realities.

Existence of a stable society permited theatre to develop People allowed to examine human problems rather than be seriously threatened by them Presence of a group of people skilled at performance

Chronology Major Egyptian Ritual/Drama 2500–550 BCE Greek plays being written 534 BCE–150 CE Roman plays 240 BCE–65 CE Sanskrit plays 100 CE–1000 CE Kutiyattam 900 CE to present Western liturgical drama 975 CE–1500 CE Outdoor religious drama 1200 CE–1600 CE Yuan plays 13th century CE Noh 14th century CE to present Kathakali from 17th century CE to present

Aeschylus 525–455 BCE Wrote 90 plays Only 7 extant Of all the surviving plays of ancient Greece his Oresteia is the only trilogy to survive (Agamemnon, Libation Bearers, and Eumenides) The real creator of tragedy and first to associate tragedy with moral and religious problems. Created the tragic style. Added a second actor; increased dialogue and reduced the importance of the chorus

Sophocles 497–405 BCE Wrote 125 plays but only 8 have survived Won 24 prizes for his tragedies Active in Athenian social and political life; held several priesthoods; imperial treasurer in 443 BCE, and a army general in 440 BCE Added a 3rd actor; increased dialogue; decreased the importance of the chorus; fixed number of chorus at 15; invented painted scenery; made each play of the trilogy an organic unit; plays in trilogy no longer deal with one unified theme.

Euripides 480–406 BCE Wrote some 90 plays and won few victories in dramatic contests. 18 of his plays have survived. Most modern of the 3 great Athenian tragedians (“the Ibsen of the Greeks”) Least popular among his contemporaries but most appreciated by later generations.