Transcript Theatre History

Early Alternatives to Realism
(Historical Background)
– “Modern theatre” is said to have begun with Saxe-Meiningen,
Ibsen, and Zola.
– Modernism, however, began with a group of artists identified
as symbolists.
– Modernism - A broad concept that sees art, including theater, as
detached from life in a pure way and able to reflect on life
critically.
– Symbolism in theatre – emphasizes the internal life of dreams
and fantasies; belief that art should represent truths that can
only be described indirectly
– Modernists abandoned both the scientific and humanist
ideal, and substituted their own subjective visions and
aesthetic modes (often abstract).
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– The general purpose was to avoid direct, objective
comparison between art and life.
Image: http://heironimohrkach.blogspot.com/2013/12/the-modern-era-v-symbolismcabarets.html
Early Alternatives to Realism
(Wagner and the Nonrealistic Theatre)
– Richard Wagner (1813-1883) is considered one of the
significant forerunners of modernism.
– Wagner rejected the contemporary trend toward realism.
– He argued that a dramatist’s job was not to record domestic
affairs but to create myths.
–
A dramatist should express the ideal world through the
expression of inner impulses and aspirations.
–
This would unite people as a “folk,” an idea later taken up by the
Nazis.
– To Wagner, true drama was concerned with the ideal
world, which is left behind the moment dialogue is
spoken.
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– He suggested that drama be combined with music instead.
Richard Wagner.
Image: http://www.biography.com/people/richard-wagner-9521202
Early Alternatives to Realism
(Wagner and the Nonrealistic Theatre)
– Wagner argued that music permitted greater control over
performance through use of melody and tempo.
– He disliked that in spoken drama, interpretation is subject
to performers’ personal whims.
– For Wagner, the effectiveness of music-drama depended
upon both performance and composition.
– He argued that the author-composer should supervise every
aspect of a production to unify all elements into a “master art
work.”
– This went on to support the modern theory about the need
for a strong director and unified production.
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A production of one of Wagner’s operas.
Image: http://www.westernspring.co.uk/richard-wagner-genius-visionary-white-cultural-hero/
Early Alternatives to Realism
(Wagner and the Nonrealistic Theatre)
– Wagner’s productions aimed for complete illusion.
– Pit orchestra members were not permitted to tune in the pit
itself.
– Applause was not allowed during performances or during
curtain calls at the end.
– He sought precise historical accuracy in scenery and
costumes.
– All of this was in search of the “ideal world” rather than a
realistic one.
– Though Wagner’s practice was grounded in 19th-century
tradition, his ideas about master artwork, unified
production, and theatre architecture inspired “modern”
theatre.
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A production of Wagner’s Lohengrin.
Image:
https://www.mariinskiy.com/index.html?lang=eng&playbills=52988&page=catalog&&perfomance=6135
Early Alternatives to Realism
(Symbolism)
– Symbolists created a “manifesto” in 1885 as a response to the
scientific and realistic movements.
– The focus became all things unknowable and relative/subjective.
– Artists were valued for novelty and experimentation with form,
rather than for accurate renditions of recognizable subjects.
– To symbolists, subjectivity, spirituality, and mysterious internal
and external forces were sources of a truth more profound than
that derived from the mere observation of outward appearance.
– They argued that this truth could not be represented directly, but
could only be evoked through symbols, legends, myths, and moods.
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– This movement first made an impression in theatre in 1890 with
the Théâtre d’Art in France.
Symbolism is achieved in many ways on stage.
Image: http://www.northcountrypublicradio.org/news/story/17954/20110705/
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