3 3 Alternative Spaces

The Modern Approach Throughout theatre’s history, the physical dimensions of the space have affected the performances held in them. A new approach is called Environmental Theatre. This type of theatre does not use conventional seating but rather uses the audience as part of the playing area. Throughout theatre’s history, the physical dimensions of the space have affected the performances held in them. A new approach is called Environmental Theatre. This type of theatre does not use conventional seating but rather uses the audience as part of the playing area.

20th Century Quotes... Art is not a mirror to reflect reality, but a hammer with which to shape it. Bertolt Brecht No one has ever written, painted, sculpted, modeled, built, or invented except literally to get out of hell. Antonin Artaud Art is not a mirror to reflect reality, but a hammer with which to shape it. Bertolt Brecht No one has ever written, painted, sculpted, modeled, built, or invented except literally to get out of hell. Antonin Artaud

The Modern and Postmodern “Modernism” is symbolized by its complete break from the past and its freedom to redefine the conventions of the theatre or art in general. With modernism came a new approach to theatre by a revolt against any rules toward art, classical rebirth or genre. “Postmodernism” is more of a style using random associations and reflections. There are two kinds of these postmodern reflections. Sometimes works of art pay homage to themselves. Sometimes works of art pay homage to past texts and models Postmodernism embraces, quotes and even recycles the past. “Modernism” is symbolized by its complete break from the past and its freedom to redefine the conventions of the theatre or art in general. With modernism came a new approach to theatre by a revolt against any rules toward art, classical rebirth or genre. “Postmodernism” is more of a style using random associations and reflections. There are two kinds of these postmodern reflections. Sometimes works of art pay homage to themselves. Sometimes works of art pay homage to past texts and models Postmodernism embraces, quotes and even recycles the past.

Jerzy Grotowski’s “Poor Theatre” Founded in 1959, it began with the premise that the theatre had borrowed too much from film and television, and therefore had violated its own essence. He sought to recover the true essence of theatre by eliminating everything but the two essential elements of actor and audience. He abandoned the proscenium theatre in favor of a large room that could be arranged for each production. Founded in 1959, it began with the premise that the theatre had borrowed too much from film and television, and therefore had violated its own essence. He sought to recover the true essence of theatre by eliminating everything but the two essential elements of actor and audience. He abandoned the proscenium theatre in favor of a large room that could be arranged for each production.

Jerzy Grotowski’s “Poor Theatre” The “Holy Theatre” Idea He viewed theatre as a secular ritual to which spectator-witnesses were admitted. For Grotowski, actors were like modern shamans who took on the suffering of the community. He was attempting to cause the actors and audience to confront themselves much like a religious experience. The “Holy Theatre” Idea He viewed theatre as a secular ritual to which spectator-witnesses were admitted. For Grotowski, actors were like modern shamans who took on the suffering of the community. He was attempting to cause the actors and audience to confront themselves much like a religious experience.

Jerzy Grotowski’s Akropolis The play was written by a Polish playwright in 1904 about paintings and statues coming to life to tell stories on the eve of Easter Sunday. Grotowski shifted the play to an extermination camp to contrast human dignity with human degradation. The play was written by a Polish playwright in 1904 about paintings and statues coming to life to tell stories on the eve of Easter Sunday. Grotowski shifted the play to an extermination camp to contrast human dignity with human degradation.

The Living Theatre’s “Benevolent Revolution” In the sixties, Judith Malina and Julian Beck presented highly ritualized performance pieces critical of institutions that the company considered “inhuman.” The Living Theatre wanted to overhaul society non-violently by creating revolution using the Theatre. Julian Beck said, “Art opens perception and changes our vision. I think without art we would all remain blind to reality. We go to the theatre to study ourselves. The theatre excites the imagination, and it also enters into the spirit.” In the sixties, Judith Malina and Julian Beck presented highly ritualized performance pieces critical of institutions that the company considered “inhuman.” The Living Theatre wanted to overhaul society non-violently by creating revolution using the Theatre. Julian Beck said, “Art opens perception and changes our vision. I think without art we would all remain blind to reality. We go to the theatre to study ourselves. The theatre excites the imagination, and it also enters into the spirit.”

The Connection (1959) is about the making of a documentary dealing with the lives of heroin addicts. The group was reprimanded for tax evasion by the I.R.S. which led to prison sentences. The groups’ apex was Paradise Now!, which was an attempt to create a revolution by causing the audience to increase its political awareness The Connection (1959) is about the making of a documentary dealing with the lives of heroin addicts. The group was reprimanded for tax evasion by the I.R.S. which led to prison sentences. The groups’ apex was Paradise Now!, which was an attempt to create a revolution by causing the audience to increase its political awareness The Living Theatre’s “Benevolent Revolution”

Bread and Puppet Theatre the WHY CHEAP ART? manifesto

The Bread and Puppet Theatre The Bread and Puppet Theatre, founded by Peter Schumann, still continues today and advocates virtues of love, charity and humility. His name came from the two basic elements of his work, bread and puppets. “Theatre should be as basic as bread.” The company renounced violence and capitalism in favor of love and community. His company will perform in any situation from streets to fields to gyms. The company uses biblical and legendary texts using actors and larger than life puppets. His stories are simple and the pace of his productions are majestically slow. The Bread and Puppet Theatre, founded by Peter Schumann, still continues today and advocates virtues of love, charity and humility. His name came from the two basic elements of his work, bread and puppets. “Theatre should be as basic as bread.” The company renounced violence and capitalism in favor of love and community. His company will perform in any situation from streets to fields to gyms. The company uses biblical and legendary texts using actors and larger than life puppets. His stories are simple and the pace of his productions are majestically slow.

Domestic Resurrection Circus Each production is called “Nineteenth” and is performed each August in a grassed over pit with sloping sides. The production is free and includes ten hours of demons, angels, peasants, dragons, birds and strolling entertainers. The interaction of oversized puppets with the elements of nature reinforces the “death and resurrection” them that is found in all Bread and Puppet productions. Peter Schumann said, “Puppet theatre, the employment of and dance of dolls, effigies, and puppets...is an anarchic art, subversive and untamable by nature...an art which does not aspire to represent governments or civilizations but prefers it own secret demeaning stature in society, representing more or less, the demons of that society and definitely no its institutions.” Each production is called “Nineteenth” and is performed each August in a grassed over pit with sloping sides. The production is free and includes ten hours of demons, angels, peasants, dragons, birds and strolling entertainers. The interaction of oversized puppets with the elements of nature reinforces the “death and resurrection” them that is found in all Bread and Puppet productions. Peter Schumann said, “Puppet theatre, the employment of and dance of dolls, effigies, and puppets...is an anarchic art, subversive and untamable by nature...an art which does not aspire to represent governments or civilizations but prefers it own secret demeaning stature in society, representing more or less, the demons of that society and definitely no its institutions.”

3 3 Alternative Spaces