History of the theatre lesson 4 modern theatre

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HISTORY OF THE THEATRE – Lesson 4 The Rise of Modern Theatre

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lntro to Western Music- Assignment Due Tuesday, October 16, 2012 OEDIPUS REX Assignment: Write an essay responding to this question: Treating this production of Stravinsky's "Oedipus Rex" as a "visual" experience, how does the director Julie Taymor connect the very different elements of the work - actors, singers, dancers, puppets, Japanese ·theater techniques, and Western theater tradition to tell all the various stories involved? As you watch Stravinsky 's Opera-Oratorio based on Sophocles's tragedy Oedipus Rex, consider the following . 1. The original Greek text was translated into modern French by Jean Cocteau, and then translated into Latin. The whole wo rk is sung in Latin . 2. The music is by one of the great 201h century composers , Igor Stravinsky , who was Russian. lri composing the opera-oratorio , Stravinsky agreed, reluctantly , that there would be a narrator who would explain the story of the opera in the local vernacular language. This was in case there were people in the audience who did not understand Latin. 3. This particular production was created as part of a music festival in Japan. The local vernacular language is , therefore , Japanese. 4. The director of the performance was the American director Julie Taymor, who directed The Lion King and Spiderman on Broadway . A major part of her training involved the study of traditional Japanese art forms - Bunraku puppetry techniques , and Kabuki theater- which she employs in this production , as well as artwork from the very earliest days of Greek civilization. What do you think is the role of a director? 5. Taymor uses a number of symbols to tell the story as the music is being performed . What, for instance , do you think the circular platform might mean? Or the red ribbons? What about the relative sizes of the principal figures in the drama? What other symbols do you observe , and what do you think they might mean? 6. The Greeks believed that birds and their flight patterns foretold the future . There are many references to birds in the play. How does Julie Taymor introduce birds into her direction? Use the notes you took while watching the performance to inform your writing. You are being asked to demonstrate your understanding of the play , your understanding of the musical version of it, and how all the very different influences work together. Be clear. Do not use florid language; it doesn 't help . Essay format: Printed, your choice of readable font, 12 pt, double-spaced, AT LEAST two pages Handed in to me, note-mailed. A11" [email protected] 'el c t5 ,~ .. . ' : '· ... , . .. NOTES· for "OEDIPUS REX"- An Opera-Oratorio by Igor Stravinsky, written in 1927. This production was directed by the American director Juli e Taymor. It was performed at the 1993 Saito Kinen Music Festival, in Matsumoto, Japan. The sung text is in Latin, the spoken narration is in Japane se, and is given in a style associ ated with Japane ...

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Course Reader: Reading #3 What is Design? Excerpts from: Adolph Appia, Lee Simon (from: “The Ideas of Adolphe Appia”), Robert Edmund Jones, Leonard Pronko, and Gaston Bachelard Intro to Theater: What is Design? Page #1 Intro to Theater: What is Design? Page #1 r;;e: The American s: 145-155. Harry N. Abrams ~ Chapter 3 Adolph Appia ACTOR, SPACE, LIGHT, PAINTING T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in Time. The temporal element is implicit within any text, with or without music . . . The first factor in staging is the interpreter: the actor himself. The actor carries the action. Without him there can be no action and hence no drama ... The body is alive, mobile and plastic; it exists in three dimensions. Space and the objects used by the body must most carefully take this fact into account. The overall arrangement of the setting comes just after the actor in importance; it is through it that the actor makes contact with and assumes reality within the scenic space. Thus we already have two essential elements: the actor and the spatial arrangement of the setting, which must conform to his plastic form and his three-dimensionality. What else is there? Light! Light, just like the actor, must become active; and in order to grant to it the status of a medium of dramatic expression it must be placed in the service of ... the actor who is above it in the production hierarchy, and in the service of the dramatic and plastic expression of the actor. ... Light has an almost miraculous flexibility . . . it can cre ate shadows, make them living, and spread the harmony of their vibrations in space just as music does. In light we possess a most powerful means of expression through space, if this space is placed in the service of the actor. 29 Intro to Theater: What is Design? Page #2 Intro to Theater: What is Design? Page #2 ACTOR, SPACE, LIGHT, PAINTING So here we have our nonnal established hierarchy: , the actor presenting the drama; space in three dimensions, in the service of the actor's plastic fonn; liBht giving life to each. But as you have inferred, there is a but what about painting? What do we understand about painting in terms of scenic art? A collection of painted backcloths and flats arranged vertically on the stage, more or less parallel to one another, and extending upstage. These are covered with painted light, painted shadow, painted fonns, objects and architecture; all of it, of course, on a flat surface since that is the nature of painting ... Our staging practice has reversed the hierarchical order: on the pretext of providing us with elements which are difficult or impossible to realize in solid form, it has developed painted decor to an absurd degree, and disgracefully subordinated the living body of the actor to it. Thus light illuminates the b.

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