2. The “isms” Drama 1

3. Europe in the 19th Century n From the Italian Renaissance on, pictoral illusion (“make it pretty”) dominated. n Melodrama and Romanticism began to demand more realistic sets. n Romanticism began in Germany and spread to all of the western world. n It was a new view of human nature--a cross between church and humanity rather than a separation of the two.

4. Romanticism said that... n All that exists was created by an absolute being (God, Spirit, Idea, Ego) n The less “spoiled” (altered) a thing is, the closer it is to embodying the fundamental truth--do not deviate from the natural, show things as they are. n Dualities--humanity is longing for wholeness, but is held back by human limitations. Body/soul, physical/spiritual, good/evil, life/death, etc.

5. Romantic theory n Implies that complete happiness and truth are to be found only in the spiritual realm and cannot be attained fully during life. n This, of course, is not at all what most people normally think of as “romantic.” n Romantic playwrights rejected the three unities and rejected the strict separation of comedy and tragedy--anti Neo- classic.

6. Realism said that n Art (including theatre) must depict truthfully the real, physical world. n Only the contemporary world can be viewed directly, so that is what should be depicted. n Truth can be obtained most fully through impersonal, objective observation and representation of the contemporary world. n What did she just say? :)

7. Breaking it down... n Truth can be obtained most fully through impersonal, objective observation and representation of the contemporary world.

8. More on Realism n Realism was the belief that drama will move an audience profoundly only if it creates an illusion of reality. n Old and new techniques were mixed together, so several types of productions were labeled “realism.”

9. Fundamentals of Realism n Subject matter chosen from every day life. n Settings duplicated real rooms n Prose dialogue n “Fourth wall” convention--no acknowledgement of the audience n Boxed set--even added a ceiling. n After 1850, used real furniture, prior had been painted cut outs. n Authentic dress of the period of the play n Gas and oil lights were now used. n Props began to be functional (really knit, etc)

10. Symbolism n In 1885, Russians challenged the realistic look through symbolism. n Subjectivity, spirituality, and mysterious internal and external forces were the sources of a truth more profound than that derived from the mere observation of outward appearance. n Say what?

11. Breaking it down... n Subjectivity, spirituality, and mysterious internal and external forces were the sources of a truth more profound than that derived from the mere observation of outward appearance.

12. Symbolists’ Argument n Truth cannot be represented directly, but can only be evoked through symbols, legends, myths, and moods.

13. Symbolism Says... n Few properties n Little furniture n New lighting and use of gauze curtains n Vague costumes n Strongly stylized gestures

14. Absurdism n Came about in the 1950s--the most recent of the isms. n Concentrated on the irrationality of the human spirit without suggesting any path beyond. n Plays are unified merely by a theme or mood instead of a cause-and-effect succession of events. Their structure paralleled chaos.

15. The Absurdist View n Used incongruous events to produce seriocomic and ironic effects. n Viewed language as a major rationalistic tool, so they frequently demonstrated its inadequacy.

16. Absurdity in Theatre n Simplistic, representative sets n Simplistic, representative props n Simplistic, representative costumes n Focus much more on language, gestures, and facial expressions

17. Absurdist Playwrights n Samuel Beckett – Waiting for Godot (1953) –Endgame (1957) n Edward Albee –“The Sandbox” (1959) n Eugene Ionesco –“The Bald Soprano” (1949) –“The Lesson” (1950) –“The Chairs” (1952)