Realism, Naturalism, and Symbolism
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Extended Essay in Theatre
Extended Essay in Theatre Japanese Noh and the Stanislavski method meet Shakespeare How do Eastern and Western theatrical approaches, Japanese Noh and the Stanislavski method, make an audience see the same play differently? Word Count: 3623 Table of Contents I. Introduction……………………………………………………….…………1 II. Main Body A. Part 1. Similarities and differences in the Stanislavski method and Japanese Noh….....................................................................................4 B. Part 2. Effects of the Stanislavski method and Japanese Noh and the conveyance of its themes and ideas…………….........................….....8 III. Conclusion……………………………………………………...………......16 IV. Works Cited………………………………………………………...…........18 Introduction As Amy Cook saliently states in her essay titled, ‘Staging Nothing: ‘Hamlet’ and Cognitive Science’, “in Hamlet, few things are as powerful as nothing. ... The presence of nothing in the text calls attention to what nothing is supposed to stand for” (83). Indeed, the idea of nothing pertains to existential crisis and nihilism: the former is defined as a state of panic or feeling of intense psychological discomfort about questions of existence (Existential-Crisis) and the latter is defined as a viewpoint that traditional values and beliefs are unfounded and that existence is senseless and useless (Nihilism). Shakespeare’s Hamlet explores the psychological processes which Hamlet experiences throughout the play alongside the concept of nothing. In referring to the presence of nothing as “powerful” in her essay, Cook identifies that the existence of nothing asks the audience to imagine and contemplate what their motive and point of life are. The audience is allowed to acknowledge the artistic intention through witnessing the development of Hamlet’s mental state. The tragedy of Hamlet displays Hamlet’s psychological state, which entails Hamlet’s languishment along with existential crisis and nihilism. -
What Is the Function of Theoretical Theatre Ideas, Given the Content Presented in Modern Theatre?
Coastal Carolina University CCU Digital Commons Honors College and Center for Interdisciplinary Honors Theses Studies Spring 5-10-2020 What is the function of theoretical theatre ideas, given the content presented in Modern Theatre? James Carson Jester Coastal Carolina University, [email protected] Robert Earnest [email protected] Follow this and additional works at: https://digitalcommons.coastal.edu/honors-theses Part of the Dramatic Literature, Criticism and Theory Commons Recommended Citation Jester, James Carson and Earnest, Robert, "What is the function of theoretical theatre ideas, given the content presented in Modern Theatre?" (2020). Honors Theses. 326. https://digitalcommons.coastal.edu/honors-theses/326 This Thesis is brought to you for free and open access by the Honors College and Center for Interdisciplinary Studies at CCU Digital Commons. It has been accepted for inclusion in Honors Theses by an authorized administrator of CCU Digital Commons. For more information, please contact [email protected]. What is the function of theoretical theatre ideas, given the content presented in Modern Theatre? By James Jester Theatre Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts In the HTC Honors College at Coastal Carolina University Spring 2019 Louis E. Keiner Dr. Steve Earnest Director of Honors [Title] HTC Honors College [Theatre] [Edwards] i. ABSTRACT In this work, I will look at the implications and history of theatre theory, then lay the ground work for what works will be used in this examination. Then, I look at the definition of form and content in theatrical terms and introduce the issue of this work, what is the function of Theoretical Theatre ideas, given the content presented in modern theatre? Then, I will talk about the work of Aristotle, giving brief biographical information and some of his theory on creating theatrical work, citing his work known as The Poetics. -
Le Naturalisme, Le Déterminisme Et L‟Étude Du Milieu Dans Germinal D‟Émile Zola Et Sub Terra De Baldomero Lillo
Le Naturalisme, le Déterminisme et l‟Étude du Milieu dans Germinal d‟Émile Zola et Sub Terra de Baldomero Lillo by Marie-Anne Valente A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts Approved April 2012 by the Graduate Supervisory Committee: Frédéric Canovas, Chair Markus Cruse David Foster ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Émile Zola is considered one of the fathers of 19th century French Naturalist literature. He is famous for his eloquence, sarcasm and is well known for being a provocateur. He wants to follow the principles of science: observation of his characters in their living environment (or milieu). He holds that individuals inherit physical and personality traits from their ancestors, such as atavism, which can be passed from grandfather to father and father to son. This assumption leads to Social Darwinism and impacted Zola like many other European intellectuals who believed in the new social sciences. Religion was going extinct on the old continent and the trend was to apply these theories to literature and humanities. The author also captures the political and social unrest of a struggling working class in his novel Germinal, where starving miners rebel against the bourgeois class that exploits them. Baldomero Lillo is a Chilean naturalist follower of Émile Zola who found inspiration in Germinal to write Sub Terra–short stories depicting the grim life of the coal miners. The author knows them well since he shared his existence with the miners in Lota, in the southern region of Santiago. Unlike Zola, Lillo, who was less educated and less inclined to trust science, opts for a compassionate Naturalism which relates more to his culture and personal inclinations. -
Grades 9-12 Sample High School Fundamentals I Learning Plan Big Idea/ Topic Researching Historical Styles
Grades 9-12 Sample High School Fundamentals I Learning Plan Big Idea/ Topic Researching Historical Styles (This lesson plan along with Lesson plan 4 should be repeated for multiple historical periods) Connecting Theme/Enduring Understanding: The skills associated with auditioning allow students to explore skills similar to presentations in non-theatre related fields. Students will demonstrate an understanding of the process of preparing a performance associated with a particular historical period through research. Essential Questions: How does one research appropriately for a given acting style? What is a period style? How do theatrical traditions connect to specific societal, cultural, and historical contexts? Standard Alignment PERFORMING TAHSFT.PR.1 Act by communicating and sustaining roles in formal and informal environments. c. Explore various acting methods and techniques (e.g. Stanislavski, Uta Hagen, sense memory, emotional recall) for the purpose of character development. d. Perform acting choices for an audience based on critiques. RESPONDING TAHSFT.RE.1 Engage actively and appropriately as an audience member. b. State and support aesthetic judgments through experience in diverse styles and genres of theatre. TAHSFT.RE.2 Critique various aspects of theatre and other media using appropriate supporting evidence. a. Generate and use the terminology for critiquing theatre presentations. b. Analyze performance and utilize various effective forms of criticism to respond to and/or improve performance. CONNECTING TAHSFT.CN.1 Explore how theatre connects to life experiences, careers, and other Content d. Explore various careers in the theatre arts (e.g. performance, design, production, administrative, education, promotion). TAHSFT.CN.2 Examine the role of theatre in a societal, cultural, and historical context. -
Birdhouse and Other Stories: Exploring Quiet Realism
BIRDHOUSE AND OTHER STORIES: EXPLORING QUIET REALISM ________________ A Thesis Presented to The Honors Tutorial College Ohio University ________________ In Partial Fulfillment of the Requirements of Graduation from the Honors Tutorial College with the Degree of Bachelor of Arts in English ________________ by Torri Raines April 2016 Raines 2 “Birdhouse” and other stories: Exploring Quiet Realism Contents Introduction: Exploring Quiet Realism…………..………………………………… 3 “Birdhouse”……………………………………………………………………….. 33 “At Least It’s Something”………………………………………………………….56 “The Pedestrian”……………………………………………………………………73 “Bastet”……………………………………………………………………………..77 “Introverts”………………………………………………………………………...101 Raines 3 Exploring Quiet Realism Introduction The short stories that make up my thesis project were inspired by my notion of “quiet realism.” This concept is therefore the lens through which I seek to describe, explore, and understand the stories and writers that have inspired the writing of these stories. I first articulated the term “quiet realism” while reading James Joyce’s Dubliners during a tutorial with Professor Patrick O’Keeffe in the spring of my junior year in the Honors Tutorial College. It was how I came to describe the type of story whose ending feels subtle and unexpected, in that there is no obvious external resolution—no distinct feeling of an action closing the narrative; instead, a central character experiences a quiet, poignant, internal emotional resonance, like smacking a pair of tweezers against your palm and holding them up to your ear to hear small, metallic hum in the brief two seconds before it vanishes. One concept of the traditional story is a narrative in which a change occurs, whether that change be in physical, emotional, or spiritual circumstances, or some mixture of the three, in one or more persons involved. -
The Reflection of Naturalism in Ethan's Life As Seen In
THE REFLECTION OF NATURALISM IN ETHAN’S LIFE AS SEEN IN EDITH WHARTON’S ETHAN FROME AN UNDERGRADUATE THESIS Presented as Partial Fulfilment of the Requirements for the Degree of Sarjana Sastra in English Letters By INTEN PUSPITO Student Number: 014214139 ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009 ii iii iv v ACKNOWLEDGEMENTS My greatest gratitude first and foremost goes to Jesus Christ. I thank Him for the blessing. I thank my mom and dad for their tender love. I dedicated this thesis for them. I thank my dearly annoying brothers and lovely sisters for always walking me through the ‘rain’ and for their unconditional love. Next, my huge gratitude goes to my Advisor and Co-Advisor, Modesta Luluk Artika W., S.S. and Drs. Hirmawan Wijanarka,M.Hum. whose guidance and support have made this thesis possible to be finished. I can never thank them enough for the wisdom, knowledge and especially patience that they have shown me. To my friends I called best friends; mbak Ary, Donna and Key, Dian and Yose, Arul and Villa. I thank them for their patience for listening my grumbling. My unforgettable ‘cipika cipiki’: Anis, Irin, Puput, Vitun, Novel. I thank them for coloring my days, and showing me what friendship means. I love you all. Last but not least, my gratitude goes to Samurai R. I thank him for his unexplained support and whatever! Thank you. That means a lot. vi TABLE OF CONTENTS TITLE PAGE ................................................................................................. i APPROVAL PAGE ....................................................................................... ii ACCEPTANCE PAGE .................................................................................. iii STATEMENT OF WORK’S ORIGINALTIY ........................................... -
29 the Influence of Emile Zola's Naturalism on The
29 THE INFLUENCE OF EMILE ZOLA'S NATURALISM ON THE NOVELS OF VICENTE BLASCO IBAREZ THESIS Presented to the Graduate Council of the North Texas State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Carolee Blackburn, B. A. Denton, Texas August, 1938 9803 TABLE OF CONTENTS Page PREFACE Pag. Chapter I. ZOLA'S NATURALISM . ,. * . II. THE LITERARY ATMOSPHERE DURING THE FORMA- TIVE PERIOD OF VICENTI BLASCO IBANEZ. 16 III. THE NOVELS OF BLASCO IBANEZ'S FIRST PERIOD OF WRITING. 24 IV. THE NOVELS OF BLASCO IBANEZ'S SECOND PERIOD OF WRITING. 48 V. CONCLUSION. 84 BIBLIOGRAPBY. -.-## *-*- . 92 iii PREFACE It is on the idea that Vicente Blasco Ibgiez's writings were influenced by Emile Zola that this study is based. Because the novels of the Spanish author contain many suggestions of the Zolaesque theory of Naturalism, many literary critics have assumed that he did obtain much of his inspiration from this source; they have even called him the "Spanish Zola." In working up this thesis, I have read and studied the thirteen novels included in Blasco Ib9"ez's first two literary periods. The reason for my excluding his later work is that, after the completion of the second series, his novels cease to be purely Spanish and become international. I shall try to determine how much he imitated Zola's Naturalism, and to show to what extent it is correct to call him the "Spanish Zola." CHAPTER I ZOLA'S NATURALISM It is my purpose in this thesis to show any influence that Emile Zola's Naturalism had on the novels of Blasco IbAiiez. -
Post-Authenticity: Literary Dialect and Realism in Victorian and Neo-Victorian Social Novels
1 Post-Authenticity: Literary Dialect and Realism in Victorian and Neo-Victorian Social Novels By: Suzanne Pickles A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities School of English July 2018 2 Abstract This thesis considers what a post-authenticity approach to literary dialect studies should be. Once we have departed from the idea of literary dialect studies being engaged in ascertaining whether or not the fictional representation of nonstandard speech varieties can be matched with those same varieties in the external world, how should we study the dialect we find in novels? I argue that literary dialect studies should be placed within critical work on the realist novel, since the representation of speech, like the broader field of realism, aims to reflect an external world, one with which the reader can identify. This, as yet, has not been done. My approach is to place greater emphasis on the role of the reader. I consider the ways in which writers use literary dialect to manage readers’ responses to characters, and the nature of those responses. I give a close reading of Victorian and neo-Victorian novels to show that, whilst the subject matter of these works has changed over time to suit a modern readership, the dialect representation – its form and the attitudes to language usage it communicates – is conservative. Referring to recent surveys, and through my own research with real readers, I show that nonstandard speakers are still regarded as less well-educated and of a lower social class than those who speak Standard English. -
Walter Pater — Imagism — Objectivist Verse
22 WALTER PATER — IMAGISM — OBJECTIVIST VERSE Richard Parker (The University of Sussex) Abstract In this paper I make a two-fold argument; first that the Objectivist inheritance from modernism is, in a specific sense, Paterian, and secondly, that this Paterian influence (manifested principally in the form of the Paterian aesthetic moment) is not, as might be assumed, in conflict with the political tendencies exhibited by my central examples—Ezra Pound and Louis Zukofsky—but that the arguably apolitical aesthetic moment is in fact key to their political understandings. I will begin analysing how the Paterian moment lingers in Pound's poetry, especially his Imagist and Vorticist work, and is still at the core of his poetics when he begins The Cantos . I will then go on to argue that this same Paterian aesthetic moment continues in the early work of second-generation Modernists the Objectivists, and will look at the works of Louis as a representative example. I will then argue that this group of poets' Communism is not a break with their engagement with Paterian aestheticism, but that the Paterian moment is in fact alloyed with their understanding of Marxist-Leninism. The engagement with the far left that is generally supposed to mark these writers' defining divide with their modernist forebears will therefore be shown to be more closely linked to the older generation's practices than it might be thought and I will, finally, question the apparently aesthetic basis of Pound's alignment with the far-right. A consensus has developed regarding Walter Pater's influence upon the early stages of literary modernism. -
CS Lewis, Colin Hardie, Charles Williams, and JRR Tolkien's
Volume 38 Number 2 Article 11 5-15-2020 Inklings and Danteans Alike: C.S. Lewis, Colin Hardie, Charles Williams, and J.R.R. Tolkien’s Participation in the Oxford Dante Society Jim Stockton Boise State University Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Stockton, Jim (2020) "Inklings and Danteans Alike: C.S. Lewis, Colin Hardie, Charles Williams, and J.R.R. Tolkien’s Participation in the Oxford Dante Society," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 38 : No. 2 , Article 11. Available at: https://dc.swosu.edu/mythlore/vol38/iss2/11 This Notes and Letters is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract This note pulls together information about the Oxford Dante Society and compiles a useful timetable of the participation of three Inklings in its activities. -
The Fragmentation of Imagism It Was 1912, and a New Mode of Poetry Was Taking Root
The Fragmentation of Imagism It was 1912, and a new mode of poetry was taking root. Sparked by the ideas of T.E. Hulme and from distaste of the drippy sentimentalism of the Romantic era (Britannica “Imagist”), Ezra Pound, Richard Aldington, and H.D. literally wrote the rules of Imagism. Their dry, concise look at an image or “complex,” as Pound described it, helped lay the foundation for modernist poetry. However, the Imagists’ granite rules could not ensure strict adherence to their form, not even from founding members of Imagism themselves. As the years went by, the Imagists themselves grew weary of their own form by both their own admittance and through their later works. Ezra Pound was the first leader of the Imagist movement, and his autocratic grip on the concept of Imagism may be partly to blame for the fragmentation of the movement. Pound makes it quite clear that, “At least for myself, I want [twentieth-century poetry] so, austere, direction, free from emotional slither (“A Retrospect” 23).” He carefully selected and edited poems for published volumes of Imagist poetry, but the appearance of the popular and wealthy poet heiress Amy Lowell swept in a new democratic format for the group’s publications. Authors were to select what they considered their best work, without the stamp of approval from Pound deeming it true to the Imagist credo (Bradshaw 159). Amy Lowell and Ezra Pound clashed quite famously over the direction Imagism would take, as seen in Lowell’s poem to Pound, harshly dubbed “Astigmatism.” The poem pulls no punches; the analogy is clear in Lowell’s image of the Poet smashing lovely flowers of all kinds, saying “They are useless. -
Late Modernist Poetics and George Schneeman's Collaborations with the New York School Poets
Timothy Keane Studies in Visual Arts and Communication: an international journal Vol 1, No 2 (2014) on-line ISSN 2393 - 1221 No Real Assurances: Late Modernist Poetics and George Schneeman’s Collaborations with the New York School Poets Timothy Keane City University of New York Abstract: Painter George Schneeman’s collaborations with the New York School poets represent an under-examined, vast body of visual-textual hybrids that resolve challenges to mid-and-late century American art through an indirect alliance with late modernist literary practices. Schneeman worked with New York poets intermittently from 1966 into the early 2000s. This article examines these collagist works from a formalist perspective, uncovering how they incorporate gestural techniques of abstract art and the poetic use of juxtaposition, vortices, analogies, and pictorial and lexical imagism to generate non-representational, enigmatic assemblages. I argue that these late modernist works represent an authentically experimental form, violating boundaries between art and writing, disrupting the venerated concept of single authorship, and resisting the demands of the marketplace by affirming for their creators a unity between art-making and daily life—ambitions that have underpinned every twentieth century avant-garde movement. On first seeing George Schneeman’s painting in the 1960s, poet Alice Notley asked herself, “Is this [art] new? Or old fashioned?”1 Notley was probably reacting to Schneeman’s unassuming, intimate representations of Tuscan landscape and what she called their “privacy of relationship.” The potential newness Notley detected in Schneeman’s “old-fashioned” art might be explained by how his small-scale and quiet paintings share none of the self-conscious flamboyance in much American painting of the 1960s and 1970s.