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Egyptian Roots c.2500 bce Ritual Enactment

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Presentation on theme: "Egyptian Roots c.2500 bce Ritual Enactment"— Presentation transcript:

1 Egyptian Roots c.2500 bce Ritual Enactment
Abydos Passion Play re-enacted the story of the death and resurrection of Osiris

2 Greek Festivals Festivals honored Olympian gods Ritual Competitions
Olympics: Apollo Athletics Lyric Poetry Drama: Dionysos Dithyrambic Choruses Tragedy Comedy

3 Greek Theatre 6th - 4th century bce
Originated in festivals honoring Dionysos Thespis (6th c. bce) Tragedy: Aeschylus ( bce) Sophocles ( bce) Euripides ( bce) Comedy: Aristophanes (c c.385 bce) Old Comedy: bawdy and satiric New Comedy: social situations

4 Roman Theatre 2nd c. bce - 4th c. ce
Origins in Greek drama and Roman festivals Tragedy: Seneca 5 act structure Revenge motif -- sensationalistic Ghosts and supernatural Comedy:Terence and Plautus Boy meets girl, complications, boy gets girl: marriage Bawdy Stock characters

5 Roman Spectacle Gladiatorial combats
Naval battles in a flooded Coliseum “Real-life” theatricals Decadent, violent and immoral All theatrical events banned by Church when Rome became Christianized

6 Medieval Drama: 13th-15th C.
Arose from need to educate converted, illiterate Christians about Christianity Hrotsvita (10th c.), German nun, wrote plays about Christian matyrs using structure based on Terence’s Roman comedies Liturgical drama Mystery plays: Biblical tales Miracle plays: Saints’ lives Morality plays: Allegories

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9 Italian Commedia dell’ Arte
La Commedia dell'Arte, "Artistic Comedy,” began in the second half of the 16th century Based on set pieces, lazzi, that are improvised with stock characters A distinct group of actors gave birth to the first nucleus of companies, and started doing their acts on simple stages set outdoors The mix of popular themes, complex stories, acrobatic jumps and mellow love scenes made it highly influential throughout Europe La Commedia dell'Arte literally means "Artistic Comedy", probably named as a contraposition to the standard way of making theater in that period. The Commedia dell'Arte had its start in the second half of the 16th century, in a period when theater plays were classic, stylish, cold and rigorous. Maybe as a reaction, here we go for the exact opposite: loud, colorful representations blossomed everywhere in Italy, and the rules of theater are subverted. The Commedia dell'Arte bases its charme on the free improvisation on stage. Free in the sense it is not codified, but of course it follows very precise rules, and it needs good actors to work. The time of amateur actors who learn by heart the dialogues an repeat them without expression on stage is over. A very distinct group of actors gives birth to the first nucleus of companies, and start doing their act on simple stages set outdoors, essential backgrounds (usually just a painting of streets and houses made on a canvas). The powerful mix of various elements goes strong impulse to the initiative: popular themes, complex stories with lots of climax, acrobatic jumps and mellow love scenes made it a success. Harlequino

10 Elizabethan Theatre: 16th-17th C.
Protestant Reformation closed down religious drama Tudor love of spectacle and patronage of drama Elizabethan poetry -- love of language Influenced by Roman theatre, Renaissance ideas, medieval stagecraft and pagan remnants Important theatrical period even if Shakespeare had never lived

11 French Neoclassical Theatre, 17th-18th C.
Modelled theatre on Greek and Roman examples Disdained English Elizabethan theatre’s “messiness” and eclecticism Neoclassical Conventions Decorum Verisimilitude Universal truths Poetic: Alexandrines 5 act structure 3 unities: time, place action

12 Tragedy and Comedy Rulers/nobility Affairs of state Unhappy ending
Lofty poetic style Revealed the horrible results of mistakes and misdeeds committed from passion Racine Middle class/bourgeosie Domestic/private affairs Happy ending – often deus ex machina Ordinary speech Ridicules behavior that should be avoided Moliere

13 German Romantic Theater: 18th-19th C.
“Stürm und Drang” Looked to Shakespeare for models Sweeping historical and tragic dramas Johann Goethe and Friedrich Schiller Began to emphasize historical accuracy in costumes and settings Improved theatrical effects -- footlights, revolving stages, theatrical machinery German Romantic Theater: 18th-19th C.

14 Melodrama: 19th Century Theatre of sentimentality -- emotional appeal
Heroes and villains -- and lily-white heroines Wide popular appeal Sensationalistic Most widely performed play of the 19th C: Uncle Tom’s Cabin based on Harriet Beecher Stowe’s novel Melodrama: 19th Century

15 Realism and Naturalism 19th-20th C.
Intellectual reaction against popular theatre Theatre of social problems Influenced by emerging disciplines of psychology and sociology Emerging importance of director Realistic stage conventions: Proscenium stage Audience as “fourth wall” Change in acting conventions Continued developments in stagecraft

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17 Realism and Naturalism
Middle and Lower classes Sociological How does society/the environment impact individuals? “Slice of life” August Strindberg, Anton Chekhov, John Synge, Sean O’Casey Middle class Psychological How can the individual live within and influence society? “Well-made play” Henrik Ibsen, George Bernard Shaw

18 20th Century Theatre: a hundred years of isms
Symbolism Expressionism Futurism Surrealism Social Realism Epic Theatre Existentialism Absurdism Magic Realism Hyper-Realism Not to mention musicals, films, street theatre, etc., etc.

19 And so… into the 21st Century
Anna in the Tropics by Nilo Cruz Winner of 2003 Pulitzer Prize for Drama

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