DOCSLIB.ORG

THEA 463: Modern Drama and Theatre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THEA 463: Modern Drama and Theatre The University of South Dakota THEA 463: Modern Drama and Theatre Concepts addressed: History Theory and Literature Knowledge of authors, genres, the socio-cultural impact of particular works within a historical context, text analysis, aesthetic judgments, and structure and conventions; as well as the development of the theatre, including knowledge of performance architecture, technology, the relationship of theatre and society, theatre organization, conventions, and vocabulary in the modern era to 1945 Realism, Naturalism, Independent Theatre Movement • Georg II, Duke of Saxe-Meiningen • Auguste Comte • Charles Darwin and others: implications • Meiningen players: Georg, Chronegk, Franz; innovations, influence • Realism: characteristics • Henrik Ibsen: A Doll's House, Ghosts, The Wild Duck, Peer Gynt, etc. • August Strundberg: Miss Julie, The Dance of Death • Naturalism • Emile Zola • Gerhart Hauptmann: The Weavers • Maxim Gorki: The Lower Depths • Independent Theatre Movement • Theatre Libre/ Andre Antoine: organization/business, production, repertory • Freie Buhne/Otto Brahm: ditto • Independent Theatre/J. T. Grein: ditto • Moscow Art Theatre/Konstantin • Stanislavski, Vladimir Nemirovich-Danchenko: ditto Stanislavskian technique • [George] Bernard Shaw: Arms and the Man, Pygmalion, Major Barbara, Man and Superman • Royal Court Theatre/John Vedrenne, Harley Granville Barker • Anton Chekhov: The Seagull, Uncle Vanya, The Three Sisters, The Cherry Orchard David Belasco • James O’Neill • Syndicate • Minnie Maddern Fiske • Shubert Brothers • Oscar Wilde: The Importance of Being Earnest • Henry Irving • Ragtime/Scott Joplin • Bert Williams and George Walker Pekin Theater • Lafayette Players/Anita Bush Development of this review sheet was made possible by funding from the US Department of Education through South Dakota’s EveryTeacher Teacher Quality Enhancement grant. • Irish Literary Theatre (W. B. Yeats, Lady Augusta Gregory, George Moore, Edward Martyn) • W. G. and Frank Fay • Irish National Theatre Society (Yeats, Gregory, Fays, Synge)/Mrs. A. E. F. Horniman/ Abbey Theatre • John Millington Synge: Riders to the Sea, The Playboy of the Western World • Sean O'Casey: Juno and the Paycock European Non-Realism to WWII • Avant-garde • Symbolism, Stephane Mallarme • Maurice Maeterlinck: The Intruder • Frank Wedekind • Sigmund Freud • August Strindberg ("dream plays"): A Dream Play, The Ghost Sonata • Paul Fort, Theatre d'Art • Aurelien-Marie Lugne-Poe, Theatre de l'Oeuvre • Alfred Jarry: Ubu Roi • William Butler Yeats • Adolphe Appia • Edward Gordon Craig • AA & EGC influence "New Stagecraft": R. E. Jones, Simonson, etc. • Vsevolod Meyerhold, theatricalism, biomechanics, constructivism • Alexander Tairov, Kamerny Theatre, Alexandra Exter (Ekster) • Eclecticism • Max Reinhardt • Yevgeny Vakhtangov • Mikhail (Michael) Chekhov • First World War, Russian Revolution • Expressionism, Walter Hasenclever, Georg Kaiser (From Mom to Midnight), Ernst • Toller, Hirgen Fehling, Leopold Jessner • Futurism, Filippo Marinetti • Dadaism, Tristan Tzara • Surrealism, Andre Breton • Jean Cocteau: Orphee • Un Chien Andalou • Antonin Artaud, Theatre of Cruelty • Erwin Piscator, Bertolt Brecht, Epic Theatre • Lehrstlicke, Verfremdungseffekt • Brecht: The Three penny Opera, The Good person of Setzuan, The Caucasian Chalk Circle, Mother Courage and Her Children • Jacques Copeau • Cartel des Quatres: Jouvet, Dullin, Baty, Pitoeff • Michel Saint-Denis • Jean Giraudoux • Luigi Pirandello: Six Characters in Search of an Author Development of this review sheet was made possible by funding from the US Department of Education through South Dakota’s EveryTeacher Teacher Quality Enhancement grant. • Federico Garcia Lorca: Blood Wedding, The House of Bernarda Alba USA Between the Wars and USA/Europe Post-WWII • WWII, Cold War • George Pierce Baker, 47 Workshop • The New Stagecraft in America; Robert Edmond Jones, Lee Simonson • Non-commercial U.S.A. theatre between the world wars: Little theatres, e.g., Provincetown Players (Playhouse); Theatre Guild; Arthur Hopkins, with Jones and the Barryrnores; American Laboratory Theatre, Boleslavsky, Ouspenskaya; Eva LeGallienne (Civic Rep. Theatre); Group Theatre, Clurman, Strasberg, Crawford, Kazan, et al; Federal Theatre Project, Hallie Flanagan Davis, "Living newspaper"; Orson Welles, John Houseman, Mercury Theatre • Florenz Ziegfeld • Ethel Waters • Stella Adler • Paul Robeson • Show Boat and Oklahoma • Elia Kazan • Eugene O'Neill: The Hairy Ape, Mourning Becomes Electra, The Iceman Cometh, Long Days Journey into Night Clifford Odets: Waiting for Lefty • Thornton Wilder: Our Town, The Skin of Our Teeth • Existentialism, Existentialist drama, Jean-Paul Sartre, Albert Camus • Absurdism (Martin Esslin), Samuel Beckett, Eugene Ionesco, Jean Genet, Harold Pinter Roger Blin, Alan Schneider, Peter Hall (representative plays: Waiting for Godot, Endgame, The Bald Soprano, The Lesson, The Balcony, The Caretaker, The Homecoming • Happenings + multimedia • Environmental theatre, Richard Schechner • Jerzy Grotowski, "poor theatre" • Selective realism, Arthur Miller (Death of a Salesman, The Crucible), Tennessee Williams (The Glass Menagerie, Streetcar Named Desire, Cat on a Hot Tin Root) • English Stage Company at the Royal Court ("angry young men") • Documentary drama (example, Peter Weiss) • Peter Brook • Josef Svoboda • Off- Broadway, Off-Off- Broadway • Judith Malina and Julian Beck, The Living Theatre 1950s-60s • African American Theatre in the 1950s-60s, Lorraine Hansberry (A Raisin in the Sun), Lloyd Richards, Amiri Baraka (LeRoi Jones) (Dutchman), Negro Ensemble Company Development of this review sheet was made possible by funding from the US Department of Education through South Dakota’s EveryTeacher Teacher Quality Enhancement grant. .
Load more

Recommended publications
  • Rebellion of Osvald Alving Reflected in Henrik Ibsen's
    REBELLION OF OSVALD ALVING REFLECTED IN HENRIK IBSEN’S GHOSTS DRAMA (1881): PSYCHOANALYTIC APPROACH PUBLICATION ARTICLE Submitted as a Partial Fulfillment of the Requirements for Getting Bachelor Degree of Education in English Departmen by: ANANDA DHIRA ANORAGA A320110085 DEPARTMENT OF ENGLISH EDUCATION SCHOOL OF TEACHER TRANING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2016 REBELLION OF OSVALD ALVING REFLECTED IN HENRIK IBSEN’S GHOSTS DRAMA (1881): PSYCHOANALYTIC APPROACH ANANDA DHIRA ANORAGA School of Teacher Training and Education Muhammadiyah University of Surakarta Abstrak Penelitian ini bertujuan untuk menganalisis pemberontakan yang ada dalam drama Henrik Ibsen yang berjudul Ghosts dengan Pendekatan Psikoanalitik. Penelitian ini bertujuan untuk menganalisis drama berdasarkan Pendekatan Psikoanalitik. Penelitian ini adalah penelitian kualitatif dengan menggunakan drama Henrik Ibsen Ghosts (1881) sebagai objek. Ada dua jenis sumber data: primer dan sekunder. Sumber data primer adalah naskah drama Henrik Ibsen Ghosts dan sumber data sekunder adalah beberapa buku sastra dan beberapa artikel yang berhubungan dengan drama. Metode pengumpulan data dalam penelitian ini adalah studi pustaka dengan membaca dan meringkas data. Dalam menganalisis data, penulis menggunakan analisis deskriptif. Hasil dari penelitian ini adalah Osvald memiliki kondisi psikologi yang buruk. Hal ini dibuktikan dengan pemberontakannya yang telah dilakukan. Meskipun ia tahu bahwa berhubungan seks bebas dan penyalahgunaan obat-obatan terlarang yang menyebabkan sifilis, tetapi dia masih mencoba untuk menggunakan itu. pemberontakan lain yang telah Osvald dilakukan adalah ketika ibunya melarang dia untuk menikah Regina yang sebenarnya saudara tirinya, Osvald bersikeras untuk menikah Regina karena dia mencintai Regina dan ia tidak pernah tahu bahwa Regina adalah saudara tirinya karena ibunya tidak pernah mengatakan kepada fakta-fakta yang terjadi di antara ayahnya dan ibu Regina.
    [Show full text]
  • Elsa Bernstein's Dämmerung and the Long Shadow of Henrik Ibsen
    Birkbeck College University of London MA in Modern German Studies Elsa Bernstein’s Dämmerung and the long shadow of Henrik Ibsen Manfred Pagel Assessed essay (4000 words): April 2006 Core Course: History in German Literature Course Co-ordinator: Dr Anna Richards M. Pagel Introduction Nomen est omen. When the young Elsa Bernstein (1866-1949) decided to adopt a male pseudonym at an early stage of her writing career, as many women authors did in the late 19th century, she chose one that made an unmistakable allusion to the contemporary Norwegian dramatist Henrik Ibsen (1828-1906). Her assumed nom de plume of “Ernst Rosmer” an “audible echo of Ibsen”1, clearly owed its invention to his play Rosmersholm2. In this way she signalled her literary affinity with the dominant themes and style (described as Naturalism) favoured by Ibsen during the 1880s and 1890s, when he was establishing his enduring reputation as a masterful writer of social drama. The pen-name, Susanne Kord writes, “defined her as a disciple of one of the major playwrights of her time and simultaneously allied her with the German naturalist movement, which was centrally indebted to Ibsen’s dramatic work”3. Bernstein’s five-act play Dämmerung4, originally published in 1893, will serve here as reference text in an attempt to explore some aspects of her subject matter and treatment that may be at least partly attributable to Ibsen’s influence. The characterisation of the two main female roles, in particular, will be considered because the evolving position of women in modern society and the related issue of feminist emancipation from traditional bourgeois constraints formed a recurring topic in Ibsen’s plays, such as A Doll’s House5, Hedda Gabler6, and Little Eyolf7.
    [Show full text]
  • Whole Document
    Copyright By Christin Essin Yannacci 2006 The Dissertation Committee for Christin Essin Yannacci certifies that this is the approved version of the following dissertation: Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 Committee: _______________________________ Charlotte Canning, Supervisor _______________________________ Jill Dolan _______________________________ Stacy Wolf _______________________________ Linda Henderson _______________________________ Arnold Aronson Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 by Christin Essin Yannacci, B.A.; M.A. Dissertation Presented to the faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2006 Acknowledgements There are many individuals to whom I am grateful for navigating me through the processes of this dissertation, from the start of my graduate course work to the various stages of research, writing, and editing. First, I would like to acknowledge the support of my committee members. I appreciate Dr. Arnold Aronson’s advice on conference papers exploring my early research; his theoretically engaged scholarship on scenography also provided inspiration for this project. Dr. Linda Henderson took an early interest in my research, helping me uncover the interdisciplinary connections between theatre and art history. Dr. Jill Dolan and Dr. Stacy Wolf provided exceptional mentorship throughout my course work, stimulating my interest in the theoretical and historical complexities of performance scholarship; I have also appreciated their insights and generous feedback on beginning research drafts. Finally, I have been most fortunate to work with my supervisor Dr. Charlotte Canning. From seminar papers to the final drafts of this project, her patience, humor, honesty, and overall excellence as an editor has pushed me to explore the cultural implications of my research and produce better scholarship.
    [Show full text]
  • The Tension Between Illusion and Reality in H. Ibsen's the Wild Duck
    Global Journal of HUMAN-SOCIAL SCIENCE: A Arts & Humanities - Psychology Volume 19 Issue 8 Version 1.0 Year 2019 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Online ISSN: 2249-460x & Print ISSN: 0975-587X The Tension between Illusion and Reality in H. Ibsen’s The Wild Duck By Dr. Mahmoud Nayef Baroud Islamic University of Gaza Abstract- Much of contemporary criticism of Ibsen plays has examined one of two concerns: Ibsen and Feminism, or Ibsen as a realist and a pioneer of modern theatre and drama. Articles on the first matter are often critical of universalizing readings of Ibsen that would have the dramatist concerned with the ills of humanity; articles on the latter theme tend to rejoice Ibsen’s assumed anti-theatrical overcoming of melodrama. Both topics can be found in his masterpiece The Wild Duck which is more honoured and received well in the study more than the other plays. Like Hamlet, The Wild Duck can be interpreted by each one in his own image; one day it will be read as a tragedy or tragicomedy, the next as the harshest irony; parts of it are clumsy, in other parts are embedded old controversies of that time. So searching yet so delicate is the touch, that these flaws and notions seem in themselves to strengthen the play. In this work, Ibsen perfected his own special power to infuse the particular, dull, limited fact with a halo and a glory. This paper is an attempt to examine the tension between illusion and reality in the play.
    [Show full text]
  • Directions in Contemporary Literature CONTENTS to the Reader Ix PHILO M
    Directions in Contemporary Literature CONTENTS To The Reader ix PHILO M. JR. BUCK 1. Introduction Fear 3 2. The Sacrifice for Beauty George Santayana 15 Professor of Comparative Literature, University of Wisconsin 3. A Return to Nature Gerhart Hauptmann 37 4. The Eternal Adolescent André Gide 59 OXFORD UNIVERSITY PRESS · New York 5. Futility in Masquerade Luigi Pirandello 79 6. The Waters Under the Earth Marcel Proust 101 (iii) 7. The New Tragedy Eugene O'Neill 125 8. The Conscience of India Rabindranath Tagore (vii) 149 COPYRIGHT 1942 BY OXFORD UNIVERSITY PRESS, 9. Sight to the Blind Aldous Huxley 169 NEW YORK, INC. 10. Go to the Ant Jules Romains 193 PRINTED IN THE UNITED STATES OF AMERICA 11. The Idol of the Tribe Mein Kampf 219 12. The Marxian Formula Mikhail Sholokhov 239 (iv) 13. Faith of Our Fathers T. S. Eliot 261 14. The Promise and Blessing Thomas Mann 291 ACKNOWLEDGMENTS A WORD must be said of appreciation to those who have aided me in this study. I would name 15. Till Hope Creates Conclusion 315 them, but they are too numerous. There are those who are associated with me in my academic A Suggested Bibliography 337 interests, and those who in one place or another have watched the genesis of the ideas that have Index (viii) 349 gone into these chapters. I must also acknowledge the aid I have received from the current translations of some of the authors, especially Mann and Proust and Sholokhov. In most of the other places the translations are my own. A word about the titles of foreign books: when the English titles are well known I have used them without giving the originals.
    [Show full text]
  • Women As Hidden Authoritarian Figures in Luigi Pirandello's Literary
    The Paradox of Identity: Women as Hidden Authoritarian Figures in Luigi Pirandello’s Literary Works Thesis Prospectus by MLA Program Primary Reader: Dr. Susan Willis Secondary Reader: Dr. Mike Winkelman Auburn University at Montgomery 1 December 2010 The Paradox of Identity: 1 Women as Hidden Authoritarian Figures in Luigi Pirandello’s Literary Works On June 28, 1867 in Sicily, Italian author and playwright Luigi Pirandello was born in a town called Caos, translated chaos, during a cholera epidemic. Pirandello’s life was marked by chaos, turmoil, and disease. He literally entered into a world of chaos. Dictated to by a tyrannical father and cared for by a meek mother, Pirandello developed an interesting view of marriage, women, and love. The passivity of his mother and eventual paranoia and insanity of his wife, Antoinette Potulano, created a premise for his literary women. As he formulated and evolved his impressions of the feminine identity from what he witnessed between his parents and experienced with his wife, the “Master of Futurism” examined the flaws of interpersonal communication between genders. He translated those experiences into his literature by depicting institutions such as marriage negatively in his early works and later shifting the bulk of his focus to gender oppositions. Pirandello explores the conundrum between men and women by placing his female characters into paradoxical roles. This thesis challenges previous criticism that maintains Pirandello’s women are “dismembered,” weak, and deconstructed characters and instead concludes that, although Pirandello’s literary women are mutable figures and his literature contains patriarchal elements, a matriarchal society dominates Pirandello’s literature.
    [Show full text]
  • A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
    University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements.
    [Show full text]
  • Futurism-Anthology.Pdf
    FUTURISM FUTURISM AN ANTHOLOGY Edited by Lawrence Rainey Christine Poggi Laura Wittman Yale University Press New Haven & London Disclaimer: Some images in the printed version of this book are not available for inclusion in the eBook. Published with assistance from the Kingsley Trust Association Publication Fund established by the Scroll and Key Society of Yale College. Frontispiece on page ii is a detail of fig. 35. Copyright © 2009 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Nancy Ovedovitz and set in Scala type by Tseng Information Systems, Inc. Printed in the United States of America by Sheridan Books. Library of Congress Cataloging-in-Publication Data Futurism : an anthology / edited by Lawrence Rainey, Christine Poggi, and Laura Wittman. p. cm. Includes bibliographical references and index. ISBN 978-0-300-08875-5 (cloth : alk. paper) 1. Futurism (Art) 2. Futurism (Literary movement) 3. Arts, Modern—20th century. I. Rainey, Lawrence S. II. Poggi, Christine, 1953– III. Wittman, Laura. NX456.5.F8F87 2009 700'.4114—dc22 2009007811 A catalogue record for this book is available from the British Library. This paper meets the requirements of ANSI/NISO Z39.48–1992 (Permanence of Paper). 10 9 8 7 6 5 4 3 2 1 CONTENTS Acknowledgments xiii Introduction: F. T. Marinetti and the Development of Futurism Lawrence Rainey 1 Part One Manifestos and Theoretical Writings Introduction to Part One Lawrence Rainey 43 The Founding and Manifesto of Futurism (1909) F.
    [Show full text]
  • What Are They Doing There? : William Geoffrey Gehman Lehigh University
    Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context ..................................
    [Show full text]
  • Introduction: Intuition/Image/Event: 'Beckett's Peephole' As Audio
    Notes Introduction: Intuition/Image/Event: ‘Beckett’s Peephole’ as Audio- Visual Rhizome 1. The quote is from Beckett’s The Unnamable. 2. Beckett first outlines this concept in his 1932 novel, Dream of Fair to Middling Women, where the character Belacqua desires to write a book whereby ‘The experience of my reader shall be between the phrases, in the silence, communicated by the intervals, not the terms, of the statement.’ Beckett (1992), p. 138. 3. I will discuss this distinction in Chapter 1. 4. See Uhlmann (1999), specifically chapter 2; (2004), pp. 90–106; and (2006). 1 Thinking the Unthinkable: Time, Cinema and the Incommensurable 1. They could thus be said to be more ‘thallic’ than ‘phallic’, horizontally fugitive rather than vertically hierarchical, molecular rather than molar. On the ‘ thallic’, see Weber (1982), pp. 65–83. 2. The Proustian implications of this temporal multiplicity are obvious, although Proust, like Beckett, is less concerned with duration, the past-present’s ability to ‘move on’ as becoming- future, than with the role of memory as a means of destroying the pernicious influence of habit. His distinction between voluntary and involuntary memory is predicated on a desire to preserve lost time as it survives in itself, the better to regain it for ourselves as art. 3. See Bellour (1977), pp. 66–91; (1986), pp. 66–101. 4. The reference to Wim Wender’s Falsche Bewegung (1975) is not uncoincidental. Wenders is paradigmatic of one aspect of the crystal- image in Cinema 2. See pp. 76–8. 5. For Nietzsche’s eternal return as an affirmation of difference, see Deleuze (1983).
    [Show full text]
  • Jacques Copeau Jacques Copeau: Dramatic Critic and Reformer of the Theatre
    JACQUES COPEAU JACQUES COPEAU: DRAMATIC CRITIC AND REFORMER OF THE THEATRE By WILLIAM THOMAS MASON A Thesis Submitted to the 2'aculty of Graduate Studies in Partial Fulfilment of the Hequlrements for the Degree lViaster of Arts McMaster University October 1973 MASTER OF ARTS (1973) McMASTER UNIVERSITY (French) Hamilton, Ontario. TITLE: Jacques Copeau: Dramatic Critic and Reformer of the Theatre AUTHOR: William Thomas Mason, B.A. (McMaster University) M.A. (Johns Hopkins University) SUPERVISOR: Professor B. S. Pocknell PAGES: v, 83 SCOPE AND CONTENTS: An analysis of the development of Jacques Copeau's principles of dramatic art, of their anplica­ tian ta a renovation of .J.:'rench theatre and of their influence on succeeding theatrical figures -' (ii) Acknowledgements My thanks to Dr. Brian S. Pocknell for hie interest, encouragement and counsel and to McMaster University for its financial assistance. (iii) Table of Contents Introduction: Copeau's career 1 Copeau the cri tic 16 Copeau the reformer 36 Copeau's legacy 61 Appendix: Repertory of the Vieux-Colombier 73 Select Bibliogranhy 76 (iv) Abbreviations ~. Jacques Copeau, So~irs du Vieux-Colombier. C.R.B. Cahiers de la Comnagnie Madeleine Renaud -- Jean-Louis --~- ~-- -----Barraul t. ---R.H.T. Re~Je d'Histoire du Théâtre. (v) I. Introduction: Copeau's career Jacques Copeau's career in the theatre from his days as dramatic critic, "when many of his principles developed, through his years of practical reform as director of the Ihéâtre du Vieux=folombier, to the propagation of his ideals by his former actors and students or by admirers has had such a profound influence on the art of the theatre that he can be ranked with Max Reinhardt in Germany, Adolphe Appia in Switz- erland, Edward Gordon Craig in England and Constantin ~tanis- lavsky in Russia as one of the outstanding leaders in early twentieth-century theatre.
    [Show full text]
  • The Prologue to Un Chien Andalou As Precursor to the Contemporary Poetics of Antivisuality and Blindness
    OXYMORONIC GAMES IN THE BLINK OF AN EYE, THE PROLOGUE TO UN CHIEN ANDALOU AS PRECURSOR TO THE CONTEMPORARY POETICS OF ANTIVISUALITY AND BLINDNESS Javier Herrera Filmoteca Española – Madrid In 1986, taking off from several texts by Bataille, specifically his essays on Lascaux and Manet as well some of his articles from Documents (those on Picasso, Van Gogh and the eye – Un chien andalou ), Rosalind Krauss published an article titled “Antivision” (1986) in which she updated several of the more original concepts of Bataille’s thinking, among which, besides formlessness, acéphale and self-mutilation, are found the ideas of obscurity and blindness. For Krauss, who some years later contributed with extraordinary critical fortune with her fundamental work The unconscious optics (1999), Bataille’s great contribution consists of, with his novel conceptual arsenal, questioning from the start the ocularcentrism dominant in Western civilization (Jay 2003), and, along the way, achieving modernity’s overcoming of visuality itself. Thus, in modern painting, to consider one example, from Van Gogh, Picasso and the surrealists on, the notion of progress no longer makes sense since what is witnessed is a regress to humanity’s origins where the child, the primitive, and the mad become models for new gazes, and, thus, they become installed within artistic rhetoric through the dislocation of forms, the destructive spirit, otherness, and the descent into monstrosity, and as a consequence of all of it comes the negation of the body, as well as the gaze, as a model for equilibrium. All this translates -and this is Krauss’ main point- into a growing tendency to renounce visuality as the most precious gift and to turn to interventions and acts which negate its very essence and even its existence.
    [Show full text]