CATA 171

Intro to Theatre and Cinema

Chapter 4

Theatrical Styles

Styles: All theatre imitates reality. The six theatrical styles apply to various interpretations of reality. A style is the word used to describe how an artist imitates reality.

Syles of Theatre and Cinema (and art in general):

OBJECTIVE REALITY (The way a scientist sees the world)

I. Realism a. Television and Cinema b. Dominant style of 20^th cent. c. Based on philosophy of Determinism A. Describes truth of Human nature B. Audience can learn truth by examining characters, framed by the stage as a microscope slide d. Naturalism an extreme form of Realism

II. Theatricalism a. Based on belief that all the world’s a stage b. Announces “this is a house” c. Shows truth of our world by imitating our imitations of it d. Imitates the way theatre imitates life e. Recognizes that we are acting in everyday life (we are always in a performance) f. Example: Our Town g. Stage design reflects theatricality and reminds the audience they are attending a play h. Sometimes makes audience see reflection of themselves

SUBJECTIVE REALITY (The way an artist sees the world through feelings)

Modernist Movement: Modern Art rebelled against representation of objective reality. Sought a look beneath the surface.

III. Expressionism a. Developed in Germany b. Freud A. Dreams reveal truth of human experience B. Strindberg (Sweden) developed “Dream Plays” c. Wilde’s Picture of Dorian Gray shows difference between objective and subjective reality d. Dream images are our honest view of reality. When we understand images, we understand truth e. Depicts ugliness because of mechanization of Society f. Central character. Garish colors. High contrast. Sharp stabbing edges g. Supporting characters stereotypes h. Dialogue choppy like post-it notes i. Like violent video games: how you see the monster

IV. Surrealism a. Developed in France after WWI (peaceful) b. Based on belief that images in subconscious reveal truth and truth can be beautiful or sometimes very funny c. Surrealists didn’t seek truth only through dreams. Tried trances, automatic writing, hallucinogenic drugs, fasting, staying awake, etc. (example: Jackson Pollock) d. Most famous: Salvadore Dali e. Curves, not angles, pastels f. Time suspended; things happen slowly g. Images change to other images before our eyes h. Transformation of words into pictures “time hangs heavy” i. Logic associative, not causal (Mormons, Young, children, toys, etc. j. Very creative form k. Used more in music videos today than theatre

Postmodernist Movement: rebelled against Modern Art. Blends Theatricalism and Surrealism

Three recognizable traits: 1. Abstract surreal scenery (imagistic) 2. Costumes eclectic mix of historical period and national dress
3. Performance distorts sense of time that keeps us aware it is a performance, not reality

IDEALIZED REALITY (The way an artist wishes the world could be)

First real form of art from ancient Greece to mid 19^th century

V. Clacissism a. based on belief that we can learn truth if we use our powers of reason to create and ideal world b. adheres to Greek motto of moderation in all things c. rejects excess in human emotions or architectural design d. celebrates control we can have when we use reason e. ideal proportions in human form f. mathematical precision g. formal, austere style: essence of ancient Greece h. vertical columns and horizontal steps i. Monmouth College based on Greek academies j. Speech very formal: how people ought to speak

VI. Romanticism a. during Renaissance people began to see how Classical restraint opposed the natural freedom of the individual b. 18^th century: the concept of the Unique Individual c. truth could be found by throwing off the cloak of Classicism and celebrating the ecstasy of the quest for perfection d. people should be beautiful, happy, live in perfect houses, etc. But this perception of reality is based on our emotions, not reason as in Classicism. e. “long ago and far away” A. Star Wars B. Dungeons and Dragons C. Lord of the Rings f. romantic heroes are always bigger than life A. Three Muskateers B. Don Quixote g. in romantic tragedies, we admire effort of heroes who fail to achieve goal h. supporting characters same: perfectly evil or perfectly good i. idealized dialogue j. Architecture not mathematical: unbalanced, curved lines, spires k. Plays jump from one location to another, several subplots, flip from happy to sad l. Sprawling and swirling plays which show truth is found through quest for the ideal

Material taken from textbook: Another Opening, Another Show by Tom Markus and Linda Sarver