This document outlines discussion questions based on 'The Essential Theater' by Brockett and Ball, focusing on various theater movements such as neoclassicism, realism, and the influence of cultural contexts like African American and Latino theater. It emphasizes the need to compare and contrast different theatrical traditions and to analyze the implications of censorship in notable plays like Henrik Ibsen's 'A Doll's House.' The questions encourage critical thinking about the evolution of theater and personal engagement with different types of theater.

1. 1-
This discussion question is based on pp. 135-158 of
The Essential Theater, 10th ed.
, by Oscar G. Brockett and Robert J. Ball.
Topics you should know before answering this question:
1. Neoclassical rules of theater in France (pp. 123-124)
2. The rebellion against neoclassicism and the appreciation of
Shakespeare (pp. 136-138)
3. Sturm and Drang movement in Germany (pg. 136)
4. The connection between Romanticism and melodrama (pp.
139-146)
5. Realism and Heinrick Ibsen (pp. 146-158)
6. Realism in acting (Stanislavsky) (pp. 158-160)
Describe the differences between the Romantic movement and
the Realism movement in theater. Give specific details and use
plays discussed in your book and class as examples. Finally,
describe which kind of play you would be more likely to go see
and why.

2. 2-
This discussion question is based on pp. 161-250 of
The Essential Theater, 10th ed.
, by Oscar G. Brockett and Robert J. Ball.
Topics you should know before answering this question:
1. Psychological Realism in American theater (pp. 183-188)
2. Stanislavsky method of acting (pp. 175-178)
3. African American theater (pp. 224-228)
4. Latino theater (pp.229-233)
5.
A Raisin in the Sun, Ma Rainey's Black Bottom,
and
Lydia
Compare African American Theater, Latin Theater and Asian-
American theater. How are these traditions similar? How are
they different? Be specific. Use the names of playwrights and/or
their work.
3-

3. This discussion question is based on pp. 135-158 of
The Essential Theater, 10th ed.
, by Oscar G. Brockett and Robert J. Ball.
Heinrich Ibsen's
A Doll's House
ends with Nora Helmer leaving her husband and children for
the purpose of finding out who she is outside the tight confines
of her marriage. This ending shocked 19th century audiences,
and the play was often changed to have Nora remain with her
family. In some places, like Britain,
A Doll's House
was simply banned outright.
In your opinion, what purpose was served by having
A Doll's House
censored, either by being rewritten or banned? Is censorship of
a theatrical or cinematic work ever permissible? If so, under
what conditions? If not, why not? Explain your position as
clearly and thoroughly as you can and defend it against people
who might disagree with you.