The document discusses the importance of the audience in theatre. It begins by explaining that the actor-audience relationship is unique and dynamic, as each performance is influenced by the audience. It then provides a brief history of audiences from ancient Greek/Roman times to modern contemporary audiences. It notes that audience trends have declined in recent decades. The document concludes by outlining some "rules of being a good audience member."
This document discusses the history and types of theatre. It begins by exploring the origins of theatre in ancient Greek festivals celebrating Dionysus. Thespis is credited as the first actor for playing a character other than himself. Theatre serves various purposes in society from entertainment to education to political propaganda. There are many types of modern North American theatre beyond Broadway, including nonprofit, regional, community, and educational theatres. Theatre continues to both challenge social norms and bring people together.
This document summarizes key concepts from chapters 4 and 5 about analyzing plays. It discusses stage directions, Aristotle's elements of plot, character, thought, language, music and spectacle. It also covers genres like tragedy, comedy and melodrama. Plot elements include exposition, inciting incident, climax and types of conflict and resolution. Characterization has biological, physical, psychological and social traits. Language and music help set the mood. Genres elicit different emotional responses from audiences.
Playwrights are referred to as the "primary artist" as they conceive the theme, characters, dialogue, and story of a play. The root of the word playwright comes from the Middle Ages and means "one who builds" plays, similar to how a shipwright builds ships. Plays follow various conventions like having themes, characters in action and conflict as a catalyst. Playwrights must skillfully use dialogue, stage directions, and other elements of language to craft their story and explore their chosen genre. While the process of writing a play can be difficult, playwrights find satisfaction in communicating their ideas in this unique artistic form.
This document discusses playwrights and the playwriting process. It explains that playwrights create actions, not just words, and that playwriting has historically been a solitary process. While playwrighting became more professionalized over time, it remains difficult to make a full living from. The document outlines different types of playwrights and collaborations, and notes that while training is not required, it can help writers develop their skills. It also provides brief biographies of several famous playwrights throughout history.
This document discusses the role of designers in theatre productions. It explains that designers must research locations, time periods, and characters to transform the written page into visual elements on stage. Designers consider elements like line, dimension and balance to fill the empty performance space. They create sets, lighting, costumes, props, sounds, and makeup to reflect the play and characters. Design team meetings are held to define a central vision and address practical concerns like budgets and stage limitations. Though unseen, designers' work brings the production to life and deserves recognition.
This document provides an overview of key concepts related to performance and theatre. It discusses what performance is, different types of performances, the common elements they share such as actors, actions, audiences, arenas, and arrangements. It also examines what specifically makes theatre unique as a performance art, noting its ephemeral live nature, the connection and consciousness between actors and audiences, and how no two performances can ever be exactly the same.
Oedipus Rex: Introduction to Greek TheaterKelle Shugrue
This document provides background information on the Greek tragedy "Oedipus and the Sphinx" by Francois Xavier Fabre, including essential questions, unit objectives, terminology related to Greek drama, origins of Greek drama, details on Sophocles and his plays, definitions of Aristotelian tragedy, and cultural/historical context regarding the Oracle at Delphi and the Sphinx. The document outlines key elements of Greek drama such as the chorus, motifs, themes, and the tragic hero's typical storyline in Aristotle's definition of tragedy.
Chapter 4: Experiencing and Analyzing Playsgarrets
This document discusses how theatre artists manipulate audiences through group dynamics, suspension of disbelief, and aesthetic distance. It also covers levels of participation in theatre, etiquette, going to see plays, criticism, freedom of speech exceptions, and censorship throughout history. The key elements that theatre criticism should address according to Goethe are what the artist is trying to do, how well they did it, and if it is worth doing.
This document discusses the history and types of theatre. It begins by exploring the origins of theatre in ancient Greek festivals celebrating Dionysus. Thespis is credited as the first actor for playing a character other than himself. Theatre serves various purposes in society from entertainment to education to political propaganda. There are many types of modern North American theatre beyond Broadway, including nonprofit, regional, community, and educational theatres. Theatre continues to both challenge social norms and bring people together.
This document summarizes key concepts from chapters 4 and 5 about analyzing plays. It discusses stage directions, Aristotle's elements of plot, character, thought, language, music and spectacle. It also covers genres like tragedy, comedy and melodrama. Plot elements include exposition, inciting incident, climax and types of conflict and resolution. Characterization has biological, physical, psychological and social traits. Language and music help set the mood. Genres elicit different emotional responses from audiences.
Playwrights are referred to as the "primary artist" as they conceive the theme, characters, dialogue, and story of a play. The root of the word playwright comes from the Middle Ages and means "one who builds" plays, similar to how a shipwright builds ships. Plays follow various conventions like having themes, characters in action and conflict as a catalyst. Playwrights must skillfully use dialogue, stage directions, and other elements of language to craft their story and explore their chosen genre. While the process of writing a play can be difficult, playwrights find satisfaction in communicating their ideas in this unique artistic form.
This document discusses playwrights and the playwriting process. It explains that playwrights create actions, not just words, and that playwriting has historically been a solitary process. While playwrighting became more professionalized over time, it remains difficult to make a full living from. The document outlines different types of playwrights and collaborations, and notes that while training is not required, it can help writers develop their skills. It also provides brief biographies of several famous playwrights throughout history.
This document discusses the role of designers in theatre productions. It explains that designers must research locations, time periods, and characters to transform the written page into visual elements on stage. Designers consider elements like line, dimension and balance to fill the empty performance space. They create sets, lighting, costumes, props, sounds, and makeup to reflect the play and characters. Design team meetings are held to define a central vision and address practical concerns like budgets and stage limitations. Though unseen, designers' work brings the production to life and deserves recognition.
This document provides an overview of key concepts related to performance and theatre. It discusses what performance is, different types of performances, the common elements they share such as actors, actions, audiences, arenas, and arrangements. It also examines what specifically makes theatre unique as a performance art, noting its ephemeral live nature, the connection and consciousness between actors and audiences, and how no two performances can ever be exactly the same.
Oedipus Rex: Introduction to Greek TheaterKelle Shugrue
This document provides background information on the Greek tragedy "Oedipus and the Sphinx" by Francois Xavier Fabre, including essential questions, unit objectives, terminology related to Greek drama, origins of Greek drama, details on Sophocles and his plays, definitions of Aristotelian tragedy, and cultural/historical context regarding the Oracle at Delphi and the Sphinx. The document outlines key elements of Greek drama such as the chorus, motifs, themes, and the tragic hero's typical storyline in Aristotle's definition of tragedy.
Chapter 4: Experiencing and Analyzing Playsgarrets
This document discusses how theatre artists manipulate audiences through group dynamics, suspension of disbelief, and aesthetic distance. It also covers levels of participation in theatre, etiquette, going to see plays, criticism, freedom of speech exceptions, and censorship throughout history. The key elements that theatre criticism should address according to Goethe are what the artist is trying to do, how well they did it, and if it is worth doing.
What Is Acting? Paper presented at NYU Theatre Pedagogy conference 2009James Croft
What is Acting? This is a question that many have tackled, but few have answered convincingly. It is also a question crucial for teachers of acting: if you don't know what you're teaching, how can you teach it?
This presentation, presented at New York University in April 2009, explores how different definitions of acting have led to different theatre training techniques, and tries to show a way forward using the philosophy of Nelson Goodman.
There is also a short discussion of emotion and its relationship to good acting.
This document discusses community theatre, its context and ideology. It defines community and explores different approaches to community theatre, including the travelling theatre approach, outside team workers approach, and participatory approach. The participatory approach is considered the most meaningful as it fully involves the community. The document also examines the Kamiriithu Community Education and Cultural Centre project in Kenya in the 1970s as an example of the participatory approach. The project was initially very successful in attracting audiences and raising awareness, though it was eventually banned by the Kenyan government.
Theatre can reflect and promote cultural diversity in several ways. Theatre of identity promotes a particular culture's traditions and point of view to both cultural insiders and outsiders. Examples include Yiddish theatre in New York and plays chronicling the African American experience. Theatre of protest objects to dominant cultures and demands that minority voices be heard. Cross-cultural theatre mixes cultures to find understanding, like plays adapting Native American perspectives. Keeping diverse theatres alive ensures healthy cultural debate in a society.
This document provides guidance on writing documentary treatments and pitches. It discusses the purpose of treatments, outlines common treatment elements like loglines and narrative synopses, and offers tips on style and common mistakes. Students will pitch their documentary projects to the class and receive feedback to help strengthen their treatments. Effective treatments tell a compelling story through visual language and present a worthy subject, theme, and central question.
Playwrights must create the world of the play by establishing people, action, structures, and opposing forces. A play contains a story, which includes all events mentioned, and a plot, which is only events shown on stage. Plays use dramatic structures like climactic, episodic, or circular structures to frame conflicts. Climactic structure limits scope, while episodic includes many plots and characters. Circular structure ends where it began. Plays feature protagonists who drive the plot forward against antagonists trying to thwart them. Characters can be extraordinary, representative, archetypal, or stock types defined by traits.
The document discusses the definitions of art and theatre. It defines art as a skill, act of beauty, and human expression that selectively recreates reality. Theatre is defined as a "seeing place" where a performance takes place. Drama tells stories about people in conflict. Both theatre and drama are live, about human beings, and collaborative art forms. Common categories of theatre discussed include commercial, historical, political, experimental, and cultural theatre. The document contrasts how art challenges audiences and examines life critically, while entertainment aims to gratify and indulge without intellectual demands.
This document discusses several key ethical issues in documentary filmmaking:
1) Ethics are an ongoing process that involves continual discussion and understanding different perspectives, rather than being static rules.
2) Filmmakers must balance protecting subjects' privacy with exposing their lives, and be transparent about their methods and intentions.
3) Directors must consider their own biases and assumptions, and whether their films could recreate stereotypes. They must also think carefully about "speaking on behalf" of others.
4) The power dynamics between filmmakers and subjects is an important ethical consideration, especially regarding subjects' ability to represent themselves.
This document provides an overview of many types of theatre, including comedy, tragedy, and absurdism. It discusses various forms of comedy like high comedy, low comedy, farce, domestic comedies, and comedies of manners. It also covers tragedy and the concept of the tragic hero. Additionally, it summarizes forms of theatre like expressionism, epic theatre developed by Brecht, and the theatre of the absurd developed by playwrights like Beckett and Ionesco. Finally, it briefly touches on other theatrical traditions from around the world such as Sanskrit drama, Peking opera, Japanese theatre, Islamic shadow theatre, and more.
I Shot Andy Warhol (Mary Harron, 1996) (lecture)Stephen Gaunson
The document discusses the label "based on a true story" for films and how it indicates an adaptation from multiple source texts rather than a single text. It analyzes the 1996 film "I Shot Andy Warhol" directed by Mary Harron, which adapts the true events surrounding Valerie Solanas shooting Andy Warhol in 1968. The film draws from primary sources like the SCUM Manifesto written by Solanas, biographies of Solanas and Warhol, and cultural contexts of the 1960s, dramatizing facts and myths while adding fictional elements like dialogue. The document examines how the filmmaker navigated issues of adaptation, authenticity, and their responsibility in telling a true story.
The document discusses the history and role of the director in theater. It traces the evolution of the director from the Greek didaskalos or teacher, to the modern director like George II, Duke of Saxe-Meiningen in the 19th century, who is credited as the first modern director for his use of long rehearsals, attention to detail, and advocacy for historical accuracy that influenced Stanislavsky. The document also outlines the various responsibilities of the director, such as script analysis, structural analysis, production concept, casting, blocking during rehearsals, and synthesizing the work of other artists into a unified theatrical production.
The document discusses several key elements of fiction, including setting, characters, plot, point of view, theme, and symbolism. Setting establishes the time, location, and atmosphere of a story. Characters can be round or flat. The plot involves events like exposition, rising action, climax, and resolution. Point of view determines the narrative perspective. The theme conveys a central idea or insight. Symbolism uses objects to represent larger concepts. Other elements are dialogue, foreshadowing, and structure.
Representation describes how signs like media texts stand in for and depict reality. Producers intentionally frame reality through signs like editing and camerawork to position texts ideologically. Audiences make sense of reality through these representations. Common representations of social groups in media include stereotypes like criminal black men, nerdy white men, sexy Latinas, and helpless disabled people. Understanding how media represent social groups through signs is important for recognizing the ideologies that shape perceptions of reality.
This document discusses various concepts related to narrative and plot in fiction. It defines fiction as stories that allow culture to reproduce itself and examines key elements of narratives like time, events, characters and settings. It also discusses different types of narratives and plots, including quest narratives and Vladimir Propp's character archetypes. Master plots are introduced as recurring skeletal stories that influence how we understand life's narratives and represent cultural values. Examples of different master plots are provided.
Film acting requires a different approach than stage acting as films are shot out of sequence, the actor has less control over their performance which is assembled in the editing room, and the director has more control over the medium. Method acting was developed to move away from theatrical styles and have actors immerse themselves in their roles through exploration of subtext and emotions. It emphasizes internal and realistic performances developed through rehearsal and improvisation.
This document outlines the codes and conventions of art house films. Art house films typically have a niche audience and small budget, focusing more on artistic expression than commercial success. They often have unconventional plots that are difficult to understand and explore emotions, dreams, and controversial topics. Art house films also have distinctive visual styles with experimental cinematography, lighting, costumes and locations. They usually feature unknown actors, little to no dialogue or advertising, and leave interpretations open-ended. Examples provided are the films Black Swan and The Tree of Life, as well as the short film The Source, which all employ the conventions of the art house genre.
The film The History Boys examines representations of teaching and learning styles through the story of eight students at an all-boys school in 1980s Britain as they prepare for Oxbridge entrance exams. It depicts three different teaching styles: the unconventional Hector focuses on life lessons over exam content; Lintott teaches history directly; and Irwin uses new exam preparation techniques. The film also explores representations of class, ethnicity, gender, and sexuality among the teachers and students as the boys navigate their education.
This document summarizes an art exhibition titled "Lots Of Things Like This" curated by Dave Eggers that took place from April 2 to May 10, 2008 at apexart in New York City. The exhibition highlighted artwork that combined images, words, and a sense of humor. It featured works by over 30 artists including Raymond Pettibon, Tucker Nichols, Maira Kalman, David Shrigley, and others from various disciplines like writing, poetry, music. The document discusses the curation process and rationale, and poses various questions about the exhibited artworks and their combination of images and humor.
The document discusses common codes and conventions of short films. Short films typically have small casts of 2-3 actors, minimal locations that are set in familiar urban environments, and simple props and makeup. They also have limited dialogue, focus on diegetic sound, and tell more creative stories with deeper meanings compared to blockbuster films. Most short films are between 5-10 minutes long and have very low budgets, which influences creative choices around technical elements like lighting, locations, and special effects.
This lecture discusses gender in popular culture, focusing on representations of masculinity and femininity. It analyzes the pop group Pussycat Dolls, noting their themes of asserting female sexuality and independence while portraying men as useless or overly aggressive. The implications for gender and power relationships are complex, as leveraging sexuality can empower women by contesting the male gaze, but may also lead to objectification over time. The appropriateness and impact of various popular culture portrayals remains open to debate.
Representation can take the form of one thing standing for another. Representation in media often focuses on how social groups are portrayed, using stereotypes. Stereotypes exaggerate and overgeneralize certain traits of social groups. While stereotypes may be based on some truths, they ignore individual variation and can have negative connotations. Representation and stereotypes of women, minorities, and age are common topics of analysis in media studies.
Arrive on time to avoid disrupting other audience members. Be prepared to wait until intermission or the end of the performance to use the restroom. Food is often not allowed in the theatre, so wait until intermission to eat. Turn off all mobile devices and avoid taking pictures or videos to prevent distractions for other audience members and the performers. Though you can laugh during the show, avoid talking or whispering to prevent disrupting others enjoyment of the performance. Show your appreciation for the performers by laughing and applauding to enhance your own enjoyment of the show.
The Audience, the Theatre Space, and Theatre PersonnelThomas C.
Acting terminology has evolved over time from classical to modern approaches. Classical acting focused on precise physicality and vocal techniques, while modern acting emphasizes psychological realism and character motivation. This article will explore how acting terminology has changed from classical concepts like status and physical actions, to modern concepts like objectives, tactics, and character intentions.
What Is Acting? Paper presented at NYU Theatre Pedagogy conference 2009James Croft
What is Acting? This is a question that many have tackled, but few have answered convincingly. It is also a question crucial for teachers of acting: if you don't know what you're teaching, how can you teach it?
This presentation, presented at New York University in April 2009, explores how different definitions of acting have led to different theatre training techniques, and tries to show a way forward using the philosophy of Nelson Goodman.
There is also a short discussion of emotion and its relationship to good acting.
This document discusses community theatre, its context and ideology. It defines community and explores different approaches to community theatre, including the travelling theatre approach, outside team workers approach, and participatory approach. The participatory approach is considered the most meaningful as it fully involves the community. The document also examines the Kamiriithu Community Education and Cultural Centre project in Kenya in the 1970s as an example of the participatory approach. The project was initially very successful in attracting audiences and raising awareness, though it was eventually banned by the Kenyan government.
Theatre can reflect and promote cultural diversity in several ways. Theatre of identity promotes a particular culture's traditions and point of view to both cultural insiders and outsiders. Examples include Yiddish theatre in New York and plays chronicling the African American experience. Theatre of protest objects to dominant cultures and demands that minority voices be heard. Cross-cultural theatre mixes cultures to find understanding, like plays adapting Native American perspectives. Keeping diverse theatres alive ensures healthy cultural debate in a society.
This document provides guidance on writing documentary treatments and pitches. It discusses the purpose of treatments, outlines common treatment elements like loglines and narrative synopses, and offers tips on style and common mistakes. Students will pitch their documentary projects to the class and receive feedback to help strengthen their treatments. Effective treatments tell a compelling story through visual language and present a worthy subject, theme, and central question.
Playwrights must create the world of the play by establishing people, action, structures, and opposing forces. A play contains a story, which includes all events mentioned, and a plot, which is only events shown on stage. Plays use dramatic structures like climactic, episodic, or circular structures to frame conflicts. Climactic structure limits scope, while episodic includes many plots and characters. Circular structure ends where it began. Plays feature protagonists who drive the plot forward against antagonists trying to thwart them. Characters can be extraordinary, representative, archetypal, or stock types defined by traits.
The document discusses the definitions of art and theatre. It defines art as a skill, act of beauty, and human expression that selectively recreates reality. Theatre is defined as a "seeing place" where a performance takes place. Drama tells stories about people in conflict. Both theatre and drama are live, about human beings, and collaborative art forms. Common categories of theatre discussed include commercial, historical, political, experimental, and cultural theatre. The document contrasts how art challenges audiences and examines life critically, while entertainment aims to gratify and indulge without intellectual demands.
This document discusses several key ethical issues in documentary filmmaking:
1) Ethics are an ongoing process that involves continual discussion and understanding different perspectives, rather than being static rules.
2) Filmmakers must balance protecting subjects' privacy with exposing their lives, and be transparent about their methods and intentions.
3) Directors must consider their own biases and assumptions, and whether their films could recreate stereotypes. They must also think carefully about "speaking on behalf" of others.
4) The power dynamics between filmmakers and subjects is an important ethical consideration, especially regarding subjects' ability to represent themselves.
This document provides an overview of many types of theatre, including comedy, tragedy, and absurdism. It discusses various forms of comedy like high comedy, low comedy, farce, domestic comedies, and comedies of manners. It also covers tragedy and the concept of the tragic hero. Additionally, it summarizes forms of theatre like expressionism, epic theatre developed by Brecht, and the theatre of the absurd developed by playwrights like Beckett and Ionesco. Finally, it briefly touches on other theatrical traditions from around the world such as Sanskrit drama, Peking opera, Japanese theatre, Islamic shadow theatre, and more.
I Shot Andy Warhol (Mary Harron, 1996) (lecture)Stephen Gaunson
The document discusses the label "based on a true story" for films and how it indicates an adaptation from multiple source texts rather than a single text. It analyzes the 1996 film "I Shot Andy Warhol" directed by Mary Harron, which adapts the true events surrounding Valerie Solanas shooting Andy Warhol in 1968. The film draws from primary sources like the SCUM Manifesto written by Solanas, biographies of Solanas and Warhol, and cultural contexts of the 1960s, dramatizing facts and myths while adding fictional elements like dialogue. The document examines how the filmmaker navigated issues of adaptation, authenticity, and their responsibility in telling a true story.
The document discusses the history and role of the director in theater. It traces the evolution of the director from the Greek didaskalos or teacher, to the modern director like George II, Duke of Saxe-Meiningen in the 19th century, who is credited as the first modern director for his use of long rehearsals, attention to detail, and advocacy for historical accuracy that influenced Stanislavsky. The document also outlines the various responsibilities of the director, such as script analysis, structural analysis, production concept, casting, blocking during rehearsals, and synthesizing the work of other artists into a unified theatrical production.
The document discusses several key elements of fiction, including setting, characters, plot, point of view, theme, and symbolism. Setting establishes the time, location, and atmosphere of a story. Characters can be round or flat. The plot involves events like exposition, rising action, climax, and resolution. Point of view determines the narrative perspective. The theme conveys a central idea or insight. Symbolism uses objects to represent larger concepts. Other elements are dialogue, foreshadowing, and structure.
Representation describes how signs like media texts stand in for and depict reality. Producers intentionally frame reality through signs like editing and camerawork to position texts ideologically. Audiences make sense of reality through these representations. Common representations of social groups in media include stereotypes like criminal black men, nerdy white men, sexy Latinas, and helpless disabled people. Understanding how media represent social groups through signs is important for recognizing the ideologies that shape perceptions of reality.
This document discusses various concepts related to narrative and plot in fiction. It defines fiction as stories that allow culture to reproduce itself and examines key elements of narratives like time, events, characters and settings. It also discusses different types of narratives and plots, including quest narratives and Vladimir Propp's character archetypes. Master plots are introduced as recurring skeletal stories that influence how we understand life's narratives and represent cultural values. Examples of different master plots are provided.
Film acting requires a different approach than stage acting as films are shot out of sequence, the actor has less control over their performance which is assembled in the editing room, and the director has more control over the medium. Method acting was developed to move away from theatrical styles and have actors immerse themselves in their roles through exploration of subtext and emotions. It emphasizes internal and realistic performances developed through rehearsal and improvisation.
This document outlines the codes and conventions of art house films. Art house films typically have a niche audience and small budget, focusing more on artistic expression than commercial success. They often have unconventional plots that are difficult to understand and explore emotions, dreams, and controversial topics. Art house films also have distinctive visual styles with experimental cinematography, lighting, costumes and locations. They usually feature unknown actors, little to no dialogue or advertising, and leave interpretations open-ended. Examples provided are the films Black Swan and The Tree of Life, as well as the short film The Source, which all employ the conventions of the art house genre.
The film The History Boys examines representations of teaching and learning styles through the story of eight students at an all-boys school in 1980s Britain as they prepare for Oxbridge entrance exams. It depicts three different teaching styles: the unconventional Hector focuses on life lessons over exam content; Lintott teaches history directly; and Irwin uses new exam preparation techniques. The film also explores representations of class, ethnicity, gender, and sexuality among the teachers and students as the boys navigate their education.
This document summarizes an art exhibition titled "Lots Of Things Like This" curated by Dave Eggers that took place from April 2 to May 10, 2008 at apexart in New York City. The exhibition highlighted artwork that combined images, words, and a sense of humor. It featured works by over 30 artists including Raymond Pettibon, Tucker Nichols, Maira Kalman, David Shrigley, and others from various disciplines like writing, poetry, music. The document discusses the curation process and rationale, and poses various questions about the exhibited artworks and their combination of images and humor.
The document discusses common codes and conventions of short films. Short films typically have small casts of 2-3 actors, minimal locations that are set in familiar urban environments, and simple props and makeup. They also have limited dialogue, focus on diegetic sound, and tell more creative stories with deeper meanings compared to blockbuster films. Most short films are between 5-10 minutes long and have very low budgets, which influences creative choices around technical elements like lighting, locations, and special effects.
This lecture discusses gender in popular culture, focusing on representations of masculinity and femininity. It analyzes the pop group Pussycat Dolls, noting their themes of asserting female sexuality and independence while portraying men as useless or overly aggressive. The implications for gender and power relationships are complex, as leveraging sexuality can empower women by contesting the male gaze, but may also lead to objectification over time. The appropriateness and impact of various popular culture portrayals remains open to debate.
Representation can take the form of one thing standing for another. Representation in media often focuses on how social groups are portrayed, using stereotypes. Stereotypes exaggerate and overgeneralize certain traits of social groups. While stereotypes may be based on some truths, they ignore individual variation and can have negative connotations. Representation and stereotypes of women, minorities, and age are common topics of analysis in media studies.
Arrive on time to avoid disrupting other audience members. Be prepared to wait until intermission or the end of the performance to use the restroom. Food is often not allowed in the theatre, so wait until intermission to eat. Turn off all mobile devices and avoid taking pictures or videos to prevent distractions for other audience members and the performers. Though you can laugh during the show, avoid talking or whispering to prevent disrupting others enjoyment of the performance. Show your appreciation for the performers by laughing and applauding to enhance your own enjoyment of the show.
The Audience, the Theatre Space, and Theatre PersonnelThomas C.
Acting terminology has evolved over time from classical to modern approaches. Classical acting focused on precise physicality and vocal techniques, while modern acting emphasizes psychological realism and character motivation. This article will explore how acting terminology has changed from classical concepts like status and physical actions, to modern concepts like objectives, tactics, and character intentions.
Building A Culture Of Digital DisruptionShevy Magen
Last spring the UCLA IS Associates introduced the next wave of internet evolution known as the “Internet of Everything” (IoE), which we defined as the connection of people, data, processes, and things with ever smarter technologies in order to create digitalization. Now the digital world and its ramifications have moved from out of the shadows into center stage, creating winners and losers across all industries and geographies.
With the digital narrative continuing to gain prominence in Boardrooms, we have tailored this year’s UCLA program to explore new business models, trends and opportunities necessary for the establishment of a “Culture of Digital Disruption”. 2014 created more information than the past 5,000 years combined, and the digital universe will reach 40 zettabytes (ZB) of data by the year 2020. This data torrent is continuing to come at Chief Executives with increasing velocity resulting in the highest recorded levels of CIOs reporting directly to their CEOs.
1. Playwrights are the creators of plays who develop characters, plotlines, dialogue, and stage directions.
2. The writing process can vary between playwrights but often involves drafts, readings, and workshops to refine a script.
3. Important details like characters, settings, themes, and the given circumstances are essential for understanding a play.
Theatre can entertain, challenge audiences, and teach important lessons. It has also been used as a tool for social and political commentary on issues like racism, oppression, war, and more. Playwrights like Augusto Boal and Moises Kaufman create interactive and documentary theatre to discuss issues facing marginalized communities. Theatre has power to open dialogue and address important topics in society.
This document provides an introduction to THR 1010 Online Intro to Theatre class. It begins with welcoming students and providing links to Broadway musical clips. It then introduces the teacher, Jennifer Goff, sharing details about her background and education. Requirements for the class are outlined, including the required textbook, plays, and seeing one live performance. Information is provided about seeing performances at the three Wayne State theatres - Hilberry, Bonstelle, and Studio. Finally, some tips are shared such as reading the syllabus carefully and spreading out work over each unit.
The document discusses the history and process of lighting and sound design for theatre productions. It traces the evolution of lighting from outdoor daytime performances with no lighting control to modern productions using various lighting instruments, colors, and computer-controlled cues. It also outlines the objectives, elements, and collaborative process of lighting design, as well as the roles of the lighting designer, master electrician, and light board operator. A similar process is described for sound design, covering environmental and motivated sounds, cue plotting, and sound reinforcement.
The document discusses different types of performance spaces that can be used for theatre, including proscenium, thrust, arena, flexible black box, found, and site-specific spaces. It also outlines different categories of theatre based on their commercial nature, size, and professionalism, such as Broadway, Off-Broadway, regional, educational, community, and amateur theatre.
The document discusses the key elements that designers consider when designing sets, costumes, and lighting for theatrical productions, including line, dimension, movement, light, color, and texture for sets, as well as character, period, relationships, and performer needs for costumes. It provides examples of materials and devices used in set design like flats, drops, and traps, and explains the collaborative design process between designers and directors.
This document outlines several literary theories that can be used to analyze plays:
1) Liberal humanism focuses on universal themes and subtle symbolism.
2) Psychoanalysis examines characters' unconscious desires and motivations.
3) Marxist critique analyzes how economics and class influence characters.
4) Feminist critique calls attention to the representation of women and issues of gender.
5) Queer theory explores themes of sexuality and representations of LGBT characters.
Each theory asks different questions about the influences on characters and interpretation of works.
This document provides an overview of the history and techniques of acting. It discusses how acting has changed over time from ancient Greece to modern day. Key figures and developments discussed include Diderot's paradox of the actor, Stanislavski's system for realistic acting including techniques like given circumstances, objectives, and beats. It also covers the interpretation and development of Stanislavski's system into the Method approach in the US.
The document discusses the evolution of the director role from ancient Greece to modern times. It outlines some of the key responsibilities of directors, such as play analysis, developing a concept, collaborating with designers, casting actors, and rehearsing. It profiles several influential directors like Stanislavsky, Grotowski, Bogart, and Wilson. The director works closely with the stage manager, dramaturg, producers, and board of directors on a production.
The document provides an overview of how to approach reading a play script. It discusses some key elements to look for in a script like the title, characters, and stage directions to understand the world of the play. It also contrasts reading a play script to seeing a live performance, as the reader must imagine and fill in many visual details left unspecified in the text. The article then discusses different genres of plays like tragedy and comedy and their defining conventions to help readers analyze and understand plays from different traditions.
Molière's play Tartuffe follows Orgon, who is deceived by the fraudulent religious devotee Tartuffe. Orgon's family sees through Tartuffe's deception but Orgon refuses to believe them. The play culminates with Orgon discovering Tartuffe attempting to seduce Orgon's wife, exposing Tartuffe's true nature.
Hvad sker der når digitalisering bliver ekstrem. Når kunstig intelligens, kognitive systemer og IBM Watson begynder at spise sig ind på jobmarkedet. Hvad sker der og hvad gør vi ved det? Afholdt på VidenDanmark kickoff 8. september 2016.
From the conference Future Tech in Insurance at Forsikringsakademiet, nov 15 2016. Defining cognitive and how that is relevant for insurance companies.
Audience pete buckingham what people go to seeElaine Humpleby
The document discusses trends in UK cinema audiences based on research conducted by Pete Buckingham of the UK Film Council. It finds that cinema audiences tend to be young (15-24 years old), from upper-middle class backgrounds, and frequent moviegoers. Buckingham notes some common ways the audience is clustered or segmented (e.g. by age, interests), but argues this is not very helpful for filmmakers. The Film Council's own research identified key factors influencing audience behavior, such as activities prior to seeing a film and word-of-mouth recommendations, to better understand which films might succeed.
The document discusses cultural strategy as an alternative to traditional "mindshare marketing". Cultural strategy involves developing a brand's cultural expression through a meaningful ideology, myths, and cultural codes that tap into consumers' lives. It outlines a 6-step method for developing a cultural strategy, including identifying social disruptions, emerging ideologies, source materials, and devising a detailed strategy to bring the brand's culture to life. An example of Nike's successful cultural strategy is provided to illustrate the concepts.
The document provides information about various aspects of theater, including definitions of key terms like theater, elements of theater, purposes of theater, and personnel involved in theater like producers, directors, performers, designers, and others. It also provides brief definitions and background on dance, cinema/motion pictures. Theater is described as a place for plays to be performed and also as an art form involving actors performing for an audience. Key elements include the actor, audience, written or improvised text, costumes, scenery, lights, sound, and props. Theater can entertain, instruct, motivate and more, depending on the interaction with the audience.
This document provides an introduction to postmodernism. It begins by discussing some previous artistic movements and "isms" that preceded postmodernism. It then addresses some of the key concepts of postmodernism, including an inability to create anything truly new, experimentation with existing forms, and a loss of clear distinctions between high and low art. The document goes on to define and provide examples of several postmodern features, such as pastiche, parody, intertextuality, and self-reflexivity. It concludes by discussing how postmodern artists attempt to create new works in a postmodern world and assigns the students a homework task analyzing a postmodern text using some of the key terms and concepts covered.
The document discusses the three basic elements of theatre - the text, performance, and audience. It explores how these elements interact and influence each other. The text can take many forms from plays to improvisation. The performance brings the text to life through elements like acting, design, and staging. The audience completes the experience and provides feedback through their engagement. Theatrical works exist on a spectrum from popular entertainment to challenging avant-garde works, and economics plays a role in who can access and appreciate live performances.
The document provides an overview of a lesson on postmodernism that introduces some of the basic ideas and concepts of postmodernism, including its origins and wider effects. It addresses examining postmodern themes through considering examples from media and pop culture and assessing how postmodernism challenges traditional views of art, culture, and society. The lesson also discusses preparing for an exam on postmodernism by reviewing key terms and previous exam questions.
Theater is a collaborative art form that uses live performers to present real or imagined events. It originated in ancient Greece around 532 BC. There are several types of theater structures including arena, flexible, and proscenium theaters. Naturalism and expressionism were early modern movements that sought to realistically or expressionistically portray life influences. Theater provides benefits such as bringing people together, modeling democratic discourse, contributing to education, supporting the economy, and encouraging self-reflection.
Postmodernism lesson 1 introduces some of the basic concepts and origins of postmodernism. It discusses how postmodernism rejects traditionally accepted forms and emphasizes individual experimentation. Some key postmodern concepts addressed include the inability to create anything truly new, experimentation with existing forms and conventions, and the loss of a single objective "reality". The lesson also considers wider effects of postmodernism on culture and society.
This document discusses three key ways that theatre artists manipulate audiences: 1) appealing to group dynamics and emotions, 2) encouraging suspension of disbelief, and 3) maintaining aesthetic distance. It also outlines etiquette for attending plays, different levels of audience participation in theatre, and exceptions to freedom of speech like censorship and obscenity laws. The document provides an overview of key concepts for experiencing and analyzing plays.
Postmodernism lesson 1 introduces some of the basic ideas and concepts of postmodernism. It discusses the origins and key themes of postmodernism, including skepticism of grand narratives, blurring of boundaries between high and low art forms, and lack of originality through techniques like pastiche and intertextuality. The document explores concepts like hybridization, bricolage, and juxtaposition that are characteristic of postmodern works. It provides examples from film and art to illustrate self-reflexivity, parody, and how postmodernism questions what is considered real. The lesson aims to help students understand some of the defining features of postmodernism.
Postmodernism lesson 1 introduces some of the basic ideas and concepts of postmodernism. It discusses the origins and key themes of postmodernism, including its skepticism of grand narratives and emphasis on individual experimentation. The document outlines some previous artistic and cultural movements like modernism to provide context. It also examines some key postmodern features such as pastiche, parody, intertextuality, and self-reflexivity. Students are assigned a task to create a presentation on a postmodern text that demonstrates at least two of these concepts.
The document discusses the six classical elements of drama identified by Aristotle: plot, character, thought, language, music, and spectacle. It focuses on explaining plot, providing details on typical plot structures including linear and causal plots, exposition, conflict, climax, and more. It also discusses how plot has evolved in modern drama through experimentation.
The document provides an overview of drama, including its definition, history, forms, conventions, elements, and purpose. It begins with drama originating in ancient Greece, tracing its development through Western traditions like Greek tragedies, Roman liturgical plays, and Elizabethan theater under Shakespeare. The key elements of drama discussed include characters, dialogue, plot, setting, and the live audience experience. Drama is defined as a story told through action and dialogue between characters, typically focusing on human conflict. Its purpose is to entertain, provoke thought and emotion, and provide a visual and aural experience for viewers.
Research and intuition tells us that with good choices in our live.docxrgladys1
Research and intuition tells us that with good choices in our lives, we can expect our cognitive health to remain good into late adulthood—and even then, changes do not have to be unmanageable. The kinds of relationships and the ways we interact in relationships may change from phase to phase of adulthood, but our need for strong relationships will remain important to well-being and to making good choices in life. After all, we derive happiness, in part, from offering support to others and from receiving their support for our plans and our actions.
Now that you have read and researched development over a lifespan, how has this helped you plan for positive growth over the next ten years?
Writing Requirements
· 1-2 page reflection
· Reference to concepts learned throughout the course
· APA format for in-text citations and list of references
For this assignments, you will select significant productions of plays (from a national theatre, or featuring important personnel) that feature a monster. As part of your research, you will write a short summary of your findings of each of the productions. This summary must address the following questions: WHAT was the play about (a brief synopsis)? WHEN and WHERE did it take place? WHO was involved? Anyone of renown? Did it affect their careers? WHAT did the production look/sound like? What were the artists trying to ACCOMPLISH? How was it REVIEWED? Was it popular? Controversial? Unnoticed? Did it win any awards? You must include references (cited) to at least two reviews (or, better yet, include copies of the reviews in your research).
IMPORTANT: Give a SOCIAL CONTEXT for the show. What was going on in the world that made it relevant? Why did THIS monster resonate, or fail to resonate, with its audience?
SOURCES include: Reviews, historical and/or scholarly articles, performance reconstructions, theater biographies, and specialized periodicals, Productions stills or other relevant images. You will need 3 good sources! Here’s a sample of what a production history looks like:
SAMPLE PRODUCTION HISTORY (not of a monster play)
WHAT = A RAISIN IN THE SUN
WHEN = 1959 – MARCH – 10
WHERE = U.S.A. – NEW YORK – ETHEL BARRYMORE THEATRE (BROADWAY)
WHO = LORRAINE HANSBERRY (AUTHOR)
LLOYD RICHARDS (DIRECTOR)
RALPH ALSWANG (SETS AND LIGHTING)
VIRGINIA VOLLAND (COSTUMES)
SIDNEY POITIER (ACTOR – “WALTER”)
RUBY DEE (ACTOR – “RUTH”)
LOUIS GOSSETT (ACTOR – “GEORGE”)
CRITICAL RECEPTION:
Considered the first naturalistic play featuring African-American themes and characters, Hansberry’s semiautobiographical Raisin is still acknowledged as a stunningly ground-breaking play in American theatre history. The story is that of the Lee family, upwardly-mobile African-Americans who encounter tough challenges trying to move into an all-white neighborhood of Chicago. In light of a growing discontent and radicalism in the marginalized and disenfranchised black community of the era, who were being .
The document discusses different types of acting, the actor's process, and acting techniques. It describes two main types of acting - presentational acting which "presents" a character to the audience, and representational acting which "represents" or portrays a character. It outlines Constantin Stanislavski's system of acting which focuses on psychological realism. The document also discusses an actor's training, auditioning, rehearsal, and performance processes.
8 what other forms does art criticism take?charlottefrost
This document discusses different forms of art criticism beyond traditional writing. It provides examples of art criticism through songs, videos, performance art, and other mediums that have emerged alongside new technologies. Students will complete a project where they create an audio tour of a public artwork in Hong Kong, which can include descriptions, interviews, ambient sounds, and music. Their audio tours will be presented next week.
Here are a few key reflections on my experience with theatre this semester:
- I've gained a deeper appreciation for all of the work that goes into a theatrical production. Directing taught me about the immense responsibility of overseeing all aspects of a show from conception to performance.
- Working directly with actors helped me understand how to give clear, thoughtful direction to help bring out their best work. Building trust and finding the humanity in each character were important lessons.
- The technical rehearsal process opened my eyes to the coordination required between all production elements. It's rewarding to see a fully-realized vision come to life on stage.
- Exploring different theatrical styles and conventions increased my understanding of how to craft authentic performances
The document traces the evolution of the director role from ancient times to present day. It begins with early forms of storytelling like cave paintings that required some level of coordination. Over time, plays grew more complex, demanding directors to unify vision and stage large productions. The Duke of Saxe-Meiningen in 1874 is cited as a turning point, staging historically accurate productions with intensive rehearsals. Realism further professionalized the role in controlling perception and interpreting the author's intent. Modern directors collaborate across disciplines to create impactful work and innovative theatrical forms.
Genre theory seeks to recognize film as both an artistic and commercial medium. It developed as an alternative to auteur theory, which viewed directors as the sole authors of films. Genres are both defined by critics and exist independently, as studios try to replicate successful film types. However, defining genres is complicated, as films can fit multiple categories and subgenres exist. The meaning and conventions of genres also depend on historical and cultural context. Overall, genre theory examines patterns of similarity and difference between films.
The document discusses the concept of "devised theater" and attempts to clarify misconceptions about what it means. It argues that devised theater is not a style or genre, but rather an approach to playmaking that emphasizes experimentation and flexibility over predetermined creative processes or aesthetic outcomes. The core of devised theater, according to the document, is an openness to considering all possible theatrical conventions and styles and choosing those most suited to conveying the desired message or experience of a given work. It aims to dispel the idea that devised works cannot incorporate traditional techniques or that traditional works cannot take a devised approach.
The document discusses the relationship between theatre and politics and how it has evolved. It refers to Brecht's epic theatre as challenging Aristotle's approach by integrating economics and politics into plays to stimulate intellectual response in audiences rather than emotional response. The document also discusses how Brecht sought to dismantle the traditional naturalistic theatre and its illusion of reality by creating a new drama based on critiquing the ideological assumptions of bourgeois theatre.
The audience in a theatre production has numerous responsibilities. The audience is central to the action in a production, and production circumstances may change the audience's interpretation and critique of the action they are viewing.
WCC-COMM 101 Chapter 7-Music and Culture + Reflective Project #3.pptxprofluther
This document discusses how music can reflect and influence culture. It focuses on New York City in 1977, when hip hop, punk, and disco emerged and related to the political and social realities of the time. The documentary NY77: The Coolest Year in Hell is analyzed, which examines this relationship between music and culture. The document argues that these genres have had lasting impacts outside of music, such as in fashion, film, language, and advertising. It maintains that studying mass media, including music, can provide insight into cultural evolution and future trends.
2. The Audience
• The most important relationship in the theatre
is the Actor-Audience relationship – why
would that be? Why is that different from
other similar art forms or performances?
3. The Audience
• Each theatre performance is unique and
occurs in front of an audience
• Live performances are dynamic and exciting
• The audience has an
effect on performers
4. The Audience
• Aesthetic Distance: viewer must be separate
from the performance in order to experience
its aesthetic qualities
• Willing Suspension of Disbelief: we know it’s
not real, but we choose to believe it anyway
• Conventions: the rules (think back to the
small planet)
6. Sacred and Religious
• The Greeks and Romans
– Theatre was part of religious rites that served the
whole city, so they were big events
– Even women were allowed to attend! Whoa!
• Medieval
– Theatre started up as a part of the Catholic mass
to help teach the Bible stories to the common
folks who didn’t speak Latin
7. Professional Theatres
• In the Renaissance, theatres were making money
rather than making religious points and pledges
• Public stages were open air and also open to
almost all classes
• Private stages were usually
indoors and only open to the
upper classes
• Italian theatre architecture ended up
shaping audiences
for centuries to come
– Box, pit, gallery
8. To See and Be Seen
• 16th and 17th century audiences sometimes
included some hoity-toity rich folks actually
sitting on the stage – there to be seen more
than to see the play
9. Democratic Theatre
• 19th Century
• Return of the working classes to the theatre
• Fan-shaped seating with good seats
throughout the theatre
10. Sidebar: What a Riot…
• Astor Place Riots
• The Rite of Spring
• Playboy of the Western
World
• The Plough and the Stars
There are four famous events when
audiences rioted because there were so
impressed by a certain actor or so
outraged by a specific play. When was
the last time you got excited enough by a
play or movie to riot?
11. Sidebar: Cradle Will Rock
During the Depression, part of the
Works Progress Administration (WPA)
was the Federal Theatre Project (FTP)
designed to put theatre people back
to work. One of shows that was
supported by the FTP was Cradle Will
Rock by Marc Blitzstein and directed
by Orson Welles. It was a
controversial, pro-union musical that
ended up being canceled the day
before it was supposed to open. At
which point, the audience marched
down the street to a new theatre
where Blitzstein started performing
the show on his own. One by one, the
actors stood up out of the audience
and took up their parts. Tim Robbins
directed a movie about this event, also
called Cradle Will Rock. If you ever get
a chance… check it out! It’s a great
story about the power of theatre! 11
12. Non-Western Theatres
• Spontaneous and responsive audiences
• Blurring boundaries between performers and
This is obviously way
audience oversimplified. We’ll touch more
on this later in the semester
13. Contemporary Audiences
• Extremely varied people
• Extremely varied venues
• Extremely varied topics
• Not always used to live theatre the way
historical audiences
might have been
14. Who goes and does not go to the
theatre?
• Audience trends are flat or in decline. The percentage of the U.S.
adult population attending non-musical theater has declined from
13.5 percent (25 million people) in 1992 to 9.4 percent (21 million
people) in 2008. The absolute size of the audience has declined by
16 percent since 1992.
• The number of adults who have attended musical theater has
grown since 1992, but remains largely constant as a percentage of
the population.
• Attendance trends do not seem primarily related to ticket prices.
Statistical models predict that a 20 percent price hike in low-end
subscription or single tickets will reduce total attendance by only 2
percent. These data suggest that other facts are likely affecting the
demand for theater.
National Endowment for the Arts Announces Report on Nonprofit Theaters
So basically… there are fewer
First NEA overview of nonprofit theater network in the United States people going to the theatre these
December 15, 2008
days. And I want to change that!
Maybe starting with you!
16. • Thou shalt not be an ignorant audience member
• Thou shalt not be late
• Thou shalt not bring food and drink into the theatre
unless otherwise notified
• Thou shalt turn off they cell phone or other electronic
devices (not merely silence it – and not vibrate!)
• Thou shalt not text or instant message (this is a
particular pet peeve of Ms. Goff)
• Thou shalt not take video or still pictures of the
performance
• Thou shalt not talk during the performance
• Thou shalt not put thy feet on the backs of seats
• Thou shalt avoid leaving the theatre while a
performance is in progress
• Thou shalt laugh, cry, gasp, or applaud as appropriate
17. The Critic
• An audience of one – Often the person who
stands between the performance and the
prospective audience – critics sometimes have
the power to make or break a show
• What is Criticism?
– To find fault (the negative version of the word)
– To understand and appraise (the more useful version)
• Could write for websites, newspapers, academic
journals, etc.
• Description, analysis, interpretation, judgment
18. Two Broad Types of Criticism
Descriptive criticism
An attempt to describe as clearly and accurately as
possible what is happening in a performance
Established by Aristotle (4th century B.C.E. Greek
philosopher)
Prescriptive criticism
The critic not only describes what has been done but
offers advice and sometimes even insists on what
should be done
Established by Horace (1st century B.C.E. Roman
writer)
19. Criticism
Click through the next few slides and quiz
yourself to see if you can identify the difference
between Descriptive and Prescriptive Criticism.
20. Descriptive or Prescriptive?
“Tragedy, then, is an imitation of an action that
is serious, complete, and of a certain
magnitude.” (Aristotle)
Descriptive
21. Descriptive or Prescriptive?
“Whatever the lesson you would convey, be
brief, that your hearers may catch quickly what
is said and faithfully retain it.” (Horace)
Prescriptive
22. Descriptive or Prescriptive?
“When authors take their plots from history,
they must be careful not to depart too widely
from the records.” (Castelvetro)
Prescriptive
23. Descriptive or Prescriptive?
“All works of art which deserve their name have
a happy ending.” (Joseph Wood Krutch)
Depending on your POV, this
could be either…
24. Descriptive or Prescriptive?
“The subject *of the play+ once chosen, write in
prose, and divide the matter into three acts of time,
seeing to it, if possible, that in each one the space
of the day be not broken.” (Lope de Vega)
Prescriptive
25. Descriptive or Prescriptive?
“Imagine certain people in a certain situation:
you will get a comic scene by turning the
situation around and reversing the roles.” (Henri
Bergson)
Descriptive
26. Descriptive or Prescriptive?
“The Theater of the Absurd has renounced
arguing about the absurdity of the human
condition; it merely presents it in being.”
(Martin Esslin)
Descriptive
27. The Theorist
• Like the Critic, but tends to look beyond the one
performance into a larger context
• Theory: “an intellectual construct created to
explain or predict a phenomenon.” (35)
– Systematic (reasoned and orderly)
– Internally consistent (don’t contradict yourself)
– Sufficient (theory gives all the necessary info to
understand)
– Congruent (theory takes into account all the evidence
– it doesn’t just ignore the stuff that doesn’t agree)
28. Some Theories
So here we go… let’s take a look at some
theories that people use to find meaning in
plays.
29. Liberal Humanism
• Good art is always good and good for you!
• Approach the text with no pre-knowledge of the
artist or the time period.
• Universal themes, moral of the story both important
• “The Individual” can exist independently of culture,
society, class, etc.
• Subtlety is better than being overt/explicit.
Understated feeling, emotions arising from
composition, and ideas/themes emerging through
symbolism are all highly valued.
• Asks “What are the moral and artistic merits of this
pieces of theatre?”
30. Red Riding Hood -
Liberal Humanism
• Good moral
message
• Virtue triumphs
• Fairly explicit,
clearly children’s
literature, so not
worthy of serious
study
31. Freud/Psychoanalysis
• Tries to take psycho-analytic structure and apply to characters and
situations in art.
• Terms
– ID: base, animal desires
– Superego : Hyper-rational/moral thought, keeps things in control
– Ego: The conscious self
– Conscious/Unconscious mind - Division between what we are
aware of, and the influences of repressed or transferred
memories, emotions, experiences.
– Oedipus Complex - The desire on the part of children to supplant
their parents.
• Asks “Why do characters do what they do, and do
they know why they act the way they do?”
32. Hamlet - Freud Style
• Why does it take so long
for Hamlet to kill his
uncle?
• Does Hamlet understand
his own hesitations and
emotions?
• What might be the
symbolic meaning of the
second appearance of the
ghost?
33. Marxist Critique
• Class and economic condition the primary driver of all
human activity/interactions
• Struggle between classes drives human history
• History is on a trajectory that leads to the
“Proletarian Revolution” where the laboring class will
also be the ruling class.
• The ruling class will use its power and influence to
maintain their power and authority.
• Asks “How does economics impact character actions
and events? How does class? How are economics
reflected in the work of art?”
34. Moby Dick - A Marxist Take
• Highlight the brutal
economic system of whaling
- the toll on laborers, their
wives and families.
• Ahab as the symbol for the
voraciousness of capitalism,
whose pursuits can only end
in disaster.
35. Feminist Critique
• Call attention to the role of women in existing works
of art. Delve into works to find examples of both the
historical oppression of women and times where
women had more agency/power than might be
assumed
• Rethink the canon - Why are men so often privileged
over women?
• Asks: “How are female characters represented? Who
is creating the representation? How does gender
impact character actions and events?”
36. Feminist Critique -
Red Riding Hood
• Go back to the roots of the story – there are
several versions
– No woodsman – Red just gets eaten
– Woodsman saves the two women after
their bad decision
– Red escapes on her own
– Woodsman rescues them from one wolf,
then a second wolf comes and Red and
grandma drown him in a trough on their
own
• Each of those says something different about
the role of women, doesn’t it?
37. Queer Theory
• Exploring homosexual relationships and
themes in a text and the author’s own life
• Reexamines the assumption of a heterosexual
norm
• Asks “what is the role of gender and sexuality
in the text and in society? How are
homosexual characters represented? How
are heterosexual characters represented? By
whom?”
38. Hamlet – Queer Theory
• Look at the
heterosexual
relationships – what
are they like?
• Look at Hamlet’s
relationship with
Horatio vs. his
relationship with
Ophelia