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    The second chapter from a directing textbook by Jim Patterson

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    The second chapter from a directing textbook by Jim Patterson

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    Download as pdf
    193 views11 pages

    Stage Directing: The First Experiences Chapter 2

    Uploaded by

    Elliot Northcote Daft
    The second chapter from a directing textbook by Jim Patterson

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
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    of 11
    lishment o charactor. inctuding the given cecumatances. Note the Citas {tea ateling property. Whet does the setng fr Paparare, produced st the Uriverstyof Texas at Aingon by the Maverick Theatre Company, say bout ne people who Ive there and harished the decor? (Can a plascripe embody more than one care meaning? The answer lies in dhe individual playscrip, Iie ich with meaning rie thin bed- room farce? The more ambitious the author and the mare sucessful the playscript, the more room theres to find multiple meanings. A produc- tion of David Rabe’ Seamer might emphasize “the natuteof fear that cipples; another production might emphasize another quite diferent meaning, An extended example may help larly this serning paradox. Action and Meaning (Consider the evens of “The Emper’s New Clothes” In this fable, 2 ‘windler convinces the Emperor that he has sewn a suc of clothes so ethe- real and perfec that only the mast noble of people can seit. The Emperor ‘cannot admit that there are no clothes at all, she parades chrough his kingdom in the nude, All f his subject are conned ino believing the le, snd, x0 34 not to admit o being less than noble, no one admit thatthe Emperors naked, Instead, the all praise the beauty ofthe Emperor’ rai rent. Only a child speaks the ruth: “The Emperor is naked” Do these events have meaning? IFS, whar meaning Ln uth there could be many mesnings, including thefllowing: + All people want co appear becr than they are, even when they must defy common sense. + People are afraid to say wha they thinle when i differs fom what others belive + People in power at insecate because they are only human, + People believe what chey ae old + There's sucker born every minute—and even an importanc leader i not sfe from swindle + Only children ae honest. (One might even imagine 2 meaning chat pronounces that the mose beau- ‘ful ching of lis the human bod. There could be other core meanings ewe "Now imagine «pla based on “The Emperors New Clothes.” The action units could be arranged bythe playwright ro dramatize any of the cote meanings just listed. How might cutene events—in pois, per hhaps—lead an audience to choose some of these meanings co emphasize cover others? How might a director's concep emphasize diferent aspects of che pay to underscore the meaning i one paccular production? Finding and Phrasing a Core Meaning ‘Well-rgarded plays are open to many valid cote interpretations. lis often sid that one aspect of pla’ greatness is che varity of interpret tions it cn embrace. Finding. supportable meaning in plays, such as Hamlet, Macbeth, Romeo and Julies, can be one of the director's most important interpretive acs. These plays are so rch in character and action that they will suppor several core mesnings, depending on the Avoid Confusion | core mesrng should nt be cortusod wth what heppens toh carta Charactr Noe tat inh aap of “The Emperars Naw Cleese oh {he ponable core meanings fered cued he main cheractrs easton: “Tmnated” or Te boon cbete™ A playscrit's ora manning it geserhan he conf ar relaaton othe ‘man cheractr. The cre meaning of plays ose should connect othe char ‘aso ratzaors, but te oe meeringie not he relzaton. ln. Te Gites Menage, Tom cacovee ha he must abandon hi hme, ‘ates, end sitet ato arisen ata. One core rang tox The Gass Menagrs ight be tuted Wis way Modem uban and nda oly lots no sf space he ‘aglow eovonay needy te. ‘Tiss ony one poesia core mesring; Menagerie gf ple tha can ‘support mips inapretaions. Note ther spe menten othe charactor of Tem, Amanda, Laur, or Jim is core meaning. in oclpue Rex te cerral characte decors hate hashed hi ar ‘andmarnadhne mothe: One coe masring ol hi play might be exprossed thi way People we eta pin ess lind hemo elt ated torres ‘asin, tee no meron of Ox or Joona Aiectors emphasis of cer emphasis of other aspects: “There are many cues to help the diecror uncover a pla’ meaning. The director might undertake a cose look atthe pays ele for guidance, examine key speeches within the play, or evaluat che qualities ofthe plays major character Sometimes exeatch into the playwrights bac ground and other playserpes is help n aspects ofthe production and che de- “ides, The ply’ ide i starting pine, An exeminaton ofthe play scrips action in relationship tothe tile may reveal the play’ core mea ingle) and lead the director toa playable interpretation. Docs the ttle suggest large context? How does the ation relate to the ile? Consider enigmatic ies such a¢ Long Day Journey into Night, A Seater Named Desire,or The Lite Fost. Might the key to unlocking the meanings core be found intl a ich a these? ‘Willy Loman, the salesman in Death of Saleen, explains the mean- ing ofthe plays in an extended speech inthe second ace. He believes thatthe great salesmen die in xury wearing “green velvet slipper” and ae missed, rexpected, and mourned by hundreds of collegues. Sling, ‘Willy asserts, ra noble profession. The director may take this speech in ‘the middle of the play to stand for Willys value system, which wil lead ciety oie death Together with material found in other key speeches and information abour Wily, the director ean Formulate a core meaning. Key Speeches. There may be important speeches within the plascrpe that wll unlock the core. Does a chaacterphilosophize? If, about what? Might thie speech hold clue othe playscrp’ larger meaning? Key speeches necd not be sd bythe protagonist in onder lead the rector to a supportable core meaning, Be alert tothe possbilry chat some long speches are che characte lying, The playwrights work asa whole makes che speech tonic. Inthe Epilogue of Millers Death af Salesman, Chaley says of Willy Loman, the salesman who has jus led himself "Nobody das blame this ‘man.” The we of the strange word das for dar not alr us wo pay tenon to what Charley has to say. He notes that Wily was asilexman and that for salesman, “there is no rock bottom tothe if.” Willy ike al slesmen, (Chace sys, ia man way out dere in the blu, siding on a sil and a shoeshine." And when people don smile back, "thas an eacbquake” ‘Charley, whose functional trait is to mirror dhe path Willy has not ‘aken in his job choice, in his values, and in his parenting sums up ‘Willy lif by saying "A salesman i got to dear, boy. I comes with the textton.” Charley isting us cha Willy hada value system even though, ie was misguided because it depended on being well iked, rather chan being based on sterner moral fiber. For some decors, this spech ie the key to unlocking the core mean- ing of Death of Saleman. ‘The Central Character, The personality and action eat ofthe cent character an prompt the director to understand the play's core meaning. Again, in Dea of Saleen we note Willys surname, Loman. Heiss low ‘man—a common man,an ordinary man—and assuch stands forall citizens in pore World War I America. Hei aoa man of the earth loam man Several times during the play Will insists that it isnot only immpor- tant tobe “liked” but tobe "well iked.” He values the daring of his sons 2s he encourages them o steal building materials fiom a neathy construc- tion ste, Willy demeans the academe succes of his neighbor child in favor ofthe adoration his eldest son gaenets as football hero. Through- ‘ou the play he wonders iFhe i teaching the right values to his sons ‘Armed with this information, and other evidence, the dteetor can deduce a compeling core meaning Phasing a Core Meaning, A pays core meaning should be distilled to 4 phase or atthe mos, a sentence or ewo. The director might say cele- _sraphiclly thar apy is about fan." A fuller phrasing of the core might become: "The manner in which we respond to fear defines in unpredict- ale ways who we are.” Or, "Fea cin rin us.” Note that cis phrasing emphasize the broader meaning ofthe player it does not flee what specially happens tothe main characters. ‘Acore meaning for Ordpur Res, which sates, “Oedipus learn that he should noc try 0 circumvent the Gods” takes a somewhat narcow view of thie grea play. A more useful statement should focuton the lager smeaning(s) bound up in Oedipas Rex ‘Aus, universal phrasing will focus the director attention on 3 play's core meaning. This terse statement docs imply thatthe plascrpe ie diminished or reduced in stature to ashore phrase ora simple sentence. Ik instead, pinpoints the playscipts core meaning thatthe director will develop during production. Requirements of a Core Statement ‘Once the core statement is constructed, the director should test it by ask- ingsome direct questions: + Does the core statement accommodate the central ation? + Can the major characters be beter undrstod in light ofthe core + Dos the core statement refer the given circumstance? What a Title Can Reveal Tes anole speciic aight to he terete fa lay. especialy the Grecior and deognes. Mare reap, evocative tes, whe nt very spe (all can guide the terrae Caton Hot Th Aeot coo Sou lneton,conmaneses he ha house restate amosphae othe Tennesse ilar play. crews atotion tothe ureter cf Maggi whol deotbed th dialogue es behing He Seaton aot i roc, Dats Mies Dest of Salesman tle to aucince the main characters feo beer they enor to thst, Peering othe protagonist Wily Lan, jan imearcnal joo desspion echoes soa scalousnoss othe wer Iman, os of Mil’ thoes, To fle theausonco hat Wily wl oat (he cues charactor ans moval Someties the ile wil que researc orvea al ots potency. Laraine nab’ A Flin nto Sn Pas a beaut tl: ih, evocative. ope ned Noenes ou uncrstanaing of Hansbery’s ama to know tha the ie @ queer etareuspoom by Langston Hughes. an poem n mind ones tert drawn ote tere fhe charac- {er crea, meaning nis intarce, tho arbors, More rporar, Ne Charcor fas ere seen ao the ent he thvarting of i ations (tloral oer drama rendering ha foes ape, not ju maocremate gy If the answer o these questions is negative, the director knows the core szatement wil 0¢ lad an effective, balanced production. ‘As noted in “The Emperor's New Clothes” example, a story can have several valid cove meanings, Constructing the best core statement fora specific production ofa playscrpt is pare analysis and pat ats. Ie ‘mus be supported by the playwtighs words, but the cove statement ao reed wo embrace other considerations, which could include current vent, the attists involved i the production, oe factors ouside the world ofthe ply. ‘Carrent Political or Social Events. In 2001, fresh stage adaption of Ovid's Metamorphotes opened ina small, noc for-profit OF: Broadway theatre The play retells sores from Greek myth, many of which involve love riumphing over death or lve lasting pst death. The production has a gimmick ofa sort: The main scenery is large pool of water in which the actos mov, float, igh, and soon, The play met with a stronger audience response in New Yor than i had received elsewhere and soon moved to Broadway house where i played 401 performances. Civics masked on how meaningful chese stores of love were because the play happened fo open within afew months ofthe Word “Trade Center attack. New Yorkers—perhaps all Americans—were newly sensitive to stories of love and loss. The plays use of myth allowed che audience a sense of distance fom which to relive and absorb their losses, ‘one of he highest effects of at. The director, Mary Zimmerman, did not develop her concept in response o recent rises, but nevertheless the impact ofthe production’ existing core statement happened tobe under scoced by those events Personalities ofthe Actors and Designers. Frequently in commercial cheats, as well a not-for-profit venues, a star actor can justifiably influ tence the direction a prodvetion takes. “The Actor andthe Character” se tion eater in this chapter describes how British actor Janet MeTeer reshaped the core interpretation of A Dolls Howe. Other Influences, The nature ofthe producing circumstances can ‘often shape the dcector' approach ta production. Ifthe paying spaces a storffont in Selma, Alabama, then a production of Romeo and Julies ‘may be drive by the racial tensions chac once erupted in that town, Instead of wating Ialin flies, the Shakespeaze tragedy could become tm incrracial struggle motivated by prejudice. Sometimes just the human need for varery, whimay, and delight ean Arve the director to concoct a surprising core taement. For che purposes of chis investigation ino the are and craft of directing, dhe beginning Alirecor i urged top whimsy sie and deal with s clear and seraighe forward core statement Use the Core Statement The core sarement isthe map forthe production, the master recipe that wll guide what ingredients ae wed and how hey wil be combined. Armed with a concive core statement, director can make many interpre tative decisions, including those of casting, setting, and lighting, co bring cmphass othe pla’ sated meaning. Whenever choice occur, the dire tor measures the outcomes of those choices aginst the playscrip’s core ‘core Masning sig te short pay you wil drct or you fet projet, dari a core statment for your prodsion. shoul be abt statement het mess he feqrement ora coe statrect ated elore, Turn te ore tte to your lnstructr tor aresponse “Tank back to ayoont pla or musel you sawin atheave and trace acre rmearing that sere to dive te produston Share you prcapons wit the gow. Read and Reread Hardly anyone can read a play onetime and, during that rst encounter, discover enough about how the scrip is stracured so that iteligent Girecioval decisions can be made Multiple readings are requited vo deter rine plays mechanism, including core meaning, dramatic ation, units, beats, given circumstances, and characters. Be prepared to read, reread, and read again, each dime with lightly different focus. Plan to read the play enough times to asiilte its world, o become file with its people, and to decipher its implications for production. Wich cach reading, the arte director wll uncover more evidence ofthe ply script’ unique world wm Key Tenus With sufficient study of Step 2, you should beable ofl define the fl lowing term ‘Action sia Given cetanoes ‘etn ot Jncing incident Ancapaist Objecive Ber Persona ie (Causa fet onion Poe Charter ai Progonise linas ising ston Core mening Scene Failing acon Siory French ene Saperoiective Functional eis Vetbe Conceiving the Production ‘Step 3s devoted tothe process of conceiving & pro- ‘duaton fora specie space. Tis step includes infor ‘mation about formulating a drecting eprosch tat wi {ulde the production through rehearsals, lscovering the aural posses in tho playscrit, a well as ‘devising @ ground plan. Stop 3, the, is ven over to hrlping te audience to soe ac to hear tho playscrb Objectives ‘When you have studied Step 3, you should be blew + Sketch and describe proscenium, alley, arena, and thrust secror-audience relationships + entity some advantages ofeach theatre configuration + List some atrbutes of found spaces * Phrase a production metaphor + Examine the playscrip to determine its emotional, visual, and sural worlds + Devise a concep chat will guide the production through ‘cheats + Explain the importance ofa workable ground plan + Devise a functional ground plan fora specific production + Testa ground plan for effectiveness SECOND MAN: esau dropped it I'm sch ttl psy I dopped ic ever. (Bpin toh agen. Teach lo at im fr ln, sme mame FIRST MAN mile bling) FIRST MAN... No way. Noicking wy SECOND MAN: Ishin Ti going ope agi, ‘SECOND WOMAN: The Lord ey shepherd [shal nor want He maketh me Tedown in gren putes He leadeh me bide che il wnt, Herre seul Ugh fade and END OF PLAY. Appendix D The Director in the Modern and Postmodern Theatre Playwright and actors hae eed since ancien ines Stage decor ara wader Innovation. The sage dito a independent ats cre ita promi ‘sence only during che las quarter ofthe ieteeth center. Whi heat erally prospered without drt, reductions wee no charted by he kind of the- ‘tial cohesion that eaerpray aden expe. ABrief History ‘The emespnce ofthe directo aed anther sist he mix, on sponsible for «cording the ongct ofl che elements nvled with tena production — ase. cing, music ein, estumingandighing The duis mw expec ofthe decor had been perored, ft al bythe ply che led ac the ‘company manages othe se manager Scenery an cones wee thes pe ‘scribed by wait octch-satcan, The historical precedent that ede he emergence of he mde dcr ‘gan with dhe ancient Grek ly wrighs daring the Grek caer upvc the production of thi pays. The playwright cad the play othe ators, perhaps ‘explained eff passages and asigedenrances and exits The laywgh, oF someone he apoine, ao sage the chorus, aching them movement and sper ving thi peakinglinging. Achy war arly noted forthe production of bis pla. Ths prodcion raion psd fom generation o gener, nclading Roman wre ike Puts and Terence Inthe ae medial period, when lipo pagans were sage outdoor at rc evens acy ofien ied a ma deja ofthe prormane nat ‘er ofthe play’) organize the ere production, incing he peal effects. One sch ognize Jean Bouchet, was acknowledged as sapere of igs Pag ants werking in many vere in many coun ci dearth Shakespeare ha sigiant hadi dhe praducion ois last theGlobe Thea. The es ofa ew ais pa ge ample renee irbebet ebout sing and play prucion. The hice the lj” in Hamlrea sunning xa ‘Speak ihesped Ir ou epson oe, pigeon Bien much (ug many four payed hades ler ple miner Nord os ach th yh ‘igore 1 Waser ofthe Perormance, To caver igure wahife poor cunng® ‘esl poduston! The Mando oS. Asolona Arles ome of Molt lay slo provides vie 0 how things should and shosld noc be done in thet production. A his company playwright ang fete, and anager, Mole staged the plas ie woupe mounted ‘Where playwright dil not contol the aging of plas he croc manager ok. over. uly star atr whose name lene would att aan, The aoe manager booked atheate, semble company factors and techs, and pro- ced plays. The waitin ofthe arot-mansger supervisor of product ‘throughout Europes lng one For eample, David Garcia 1763 in London, ‘would el he actor oF company where oeiey whet to sandr ed where i Reheasas wee vey limite, Aco povided ie own clothes ain the ost ‘pensive and fahionble they could afford no tr what oe hey played heer ‘marge would instruc the stage manager pal fom she thet eck gneie ‘cee wigs and backdrops those unis thst night be appropri fate play. scenery wee whe newly ated a production, the actoe manager would commision pater to cee drops tha uniche geeral ackgound forthe ‘ro, often wih itl ear othe pei places mentioned the ply. Ties ‘wee mo ofen ya” o “domestic” Exe wet “pastor” orb.” While ‘he tstingsenery might have roid ching aground the scenery by no ‘mean tempted to cea the mionmen inp bythe rp: “The mde etic worldview ta ep 0 eet nd gin imporanc in the chene afer 1875 ld audiences to evenly demand that wha ty a 09| stage cho fea they understood and experienced That he production was required ro ef what the sudene new ob Realy ora cnsed of wha cold be vere by the senses sigh, ound, all ouch cane. The pice Sion ofthis pefound change in what contd thal wth mnie la ‘ery apect of thetic prediction “This esi wore rely af he pyc poduston of lay. Sead ‘omit spa en cumstances cabled by te ee The acters coanes ‘het rps the fursitre hey snd and the wy thy bed all ad wo oc the ‘ex inshor,aencs fo ches deeper podcton dha wa wid one tha rele the own understanding not only fhe ysl wot oft pc logic behavior a the playeigh characters Aes wanted eee tate ing bat expcedal of the company tsuppor the cel crs in unified proction The Modern Director The pason responsible or anifjing che prodctio in hie way wat anew hee ‘nt lle he detox. Theat moders deo an independent thea ai tly acknowledged o be George I, Duk of Ste Meninge, George apervise hit ‘all prvaecour thew company 0 pofucentoate ssl rotons, horas by histo acura, corte, ake od prop: Uke he ‘standard sage racic of he ins hs procucion were etic cheated, including inl saged crow seer hat bec the company’ halla Through the Des edeship and won, and wih eel of Ludwig Chong (sage manager aod len Fan (ed acon id ech, che Meine Pye snos “The Theatre Duke: George, Duke of Saxe-Melningen (1826-1914) tn 1908, George care fo ete fem uy in what row Geary ‘Rioa ined Peevitzaisout hee yeni Be Po on ‘or wg Crongh 187-1881) whom Gorge aed rage oft ‘Sing company wan Crore who pnd th us at ace Ma SerPayer tovou George fect bok an acti par nga and Sgars be neue peducore. Arar ronan meer fhe com (tetetoees Ean Pan (120-102 whom George mera 173 Fenz Vcc ecgonerSeching the co age spech end nc and eng Uaroperrs {George I whe hora at ang, eed al tte et cotanes, at open gy emanates tal ent ‘neste Tove ouhens an arpa ar eos 89 ‘Te cepeclyContune nes chrecurené be S's rocuens ‘Tree rvansonl sorry ws arte balart of ainngen Payer. The Ut padoms,menaana pice, spe end dat etd ah enon- trea a ache Forage x bettie th reorder ‘onary maces tw reraraliy fect ‘The Motingen Players dnote sar, The u's sa acting company ‘Wesonad a wetsebars sore Ale acto, ung be eng yore mace pat ot cows ey wate rot cere cas Reals ‘snd emer i we ea ence a ‘ar dnd oe) by Googe Cronapk ar tore thet {Guedtrgara Gortary Sadan Astra, Cora: Hoend en urs ‘Gace ac ot eae nope. ume insitasons opal ove Europe They toute fom 1874 0 189, present Ing ons 2000 peromancerin hy esin Europe and Rs. “Phe Mningen Coney usongly inflsenced the axe generation of thee aris in Europe ining ear ling in London, André Aine in France and ‘Oto Braha and Max Reka ia Germany. The Meiingn productions made 2 Tasting impresion onthe Rosin thet rit, Costa Sais. ‘ANew Way to Act ‘Consantn Snare (1865-1938 espnded the Dake of Saxe Mnige ‘ecing neds by devlping ay to act that embraced the emerging reals ‘weldiew Working withthe acon of the MencowAet Tete, which be Tofu in 1898, Sania devil an ating proce ht mined he pycholog. {eh physical nd emaconal uth of charac Four boks published in Engl ewer 1924 and 1961s oth hr views on tue, espe atng. and exer tteendoos influence on sh ining of mbsoqune generations of players in Europe and Ametca. The Sais rye haa den or 0 ents tha il for the Ini of men axor taining it the United Sates. The vs ofthe Meso Ar Theat Aner in 1923-1924 was incumentl Inbringng bout sitar changin he way Areca cos approached «raft When the cspany rere o Monn afew Moscow At Theat sco ‘erin in New York and became infecting each ng Sana eh niques. Their staens nun, beamestong nent of Senile ed ning 11931 the Group Theatre wa outed in New ed along the lines fhe Moscow Ae Theta emulated that heat bln ensemble predecons and ‘epecily Sunslais devon oenphassg the inne tah ofthe arate ‘The Group Thee was ave fo ten ers dung which ine he Sans ss tem became fy erablihed in Americ. ‘Afr World Whe Ii 1947, he Actos Sudo was funda by she former smembes ofthe deiner Group Then aby Levin Cheryl Cran, tod Ea nan. Lee Ssherg, an imporcae member of the Group Then, later beat the ‘Acro Sais dominant acting teacher wile Kaan meg the mom sig ‘ane sage decor of the poss ern, The Att Sti berame the using ound for hundreds of importa stage nd flonan inclng Mal Brando Jee Dean, Kal Malden, aad Maryn Monroe, Even actos and distr ot med tly connected withthe Group Testor the Actors Sado wee influ by his ppd othe “The Actos Sadi continues today, brie dots ot have hese heel Iimpactic had fom 1947 hea 1960 Peychotogical Realism “Theaghout the mainder of dhe event enn, any peyighs and ders Inthe commercial thee (and in much ofthe noncommeti chxi) conned 0 ‘ork the made se, fen elle pcb aim These modern decor preached ter ra with the bebe hat he plyrght words wes af primary ot ‘ern. Theis wat language oriented than which he lags inte, oar 2 cold be undestod bythe decor, wae the one ep ply precio. Pychlogal eam nls thee peeps 1+ Thighs and sound ae generally chose nese anders in every ie 1 Theandeoce expected 0 accep nt wha ic happeing on sage fe. + Peopeate motiested by paycholgy and ax const Chara ay bot sbways undenand thei ova mations, bur the sudence does undencand ‘hems le bythe endo the play. + Thetoe ofthe playin moe clos consent. Even hough series may be presence out of dronelopcal ord the sor havea wai and ct ‘ape wath action general rising to + cima +The sry focuses om an incvidal who ein an importa confit. Tough ineracion with others, and hough making choles ad ening move thie individual comes to some new understanding andthe colic cele + Science and reason permeate she playwright deerinain of th tla Kazan (1900-2003) and Psychological Realism Kazan wash ut sunning ember ote goeraion of rete connected wh the croup Theme en oy Yours oe Aco Stu He was he oe - tal Ametoan dre ohe 19s, s0s end eaging nama procu es ot ple by Toron Wr enresoe Witars er Ar Met Ourg th sre crane dren sigan fs, neg On the Mateo, Ge ‘nes Agreement and A Seta Need Ds. ‘cen ed the Group Thee 188 ee an appre aco aeropeng out ‘Stine le rava Seno Whe Group Thode ace na dozen of more frou, noucieg a memorale prance in Clr Ode Wang or i009, He taper recing caro snot erate During Wedd ar crac Wises Te tr of Ou eth 104). Ater he ‘urbe waste mt sug tar Ararcan ect plas, ung Tenestee Wir A Sencar Named Dears (142), Caton oo Tr Roa (185), and ‘ret Bo oun (100 Wn i equa cpg o Milne Kazan etablsed a produston sie ‘own ea oats realm en th pis! roucton raed alin ore [Seirwtednonesarant The acing emphasis anes peyrsiogeal uh naan ed te oy em ong thot of tr alae ue Departures from Realism “Wile rien waa pope production ide tas ot been the only he Fal poducion sje in the mer that, Once ream gained ob hte ttre nprtant overeat ha challenged the basi tenes heat modernism, Four din pproaches wo playing and production sy ate song the many rection ola or arate eam: expresionion, pe het, ued, td aan Expresionism Expresionem prem the world ase rom one individuals stored viewpoint "Tis individal intane or eroporay undergoing an exzeme poli isis Expres then, isan exer expen finer cane. Georg Kase (i Emer Rice The ding Machin) and Georg Buchne (Were at plywrghs ‘sho wrote the expresioni xe. Expresso sa e production se hat Jroeasa digored sni uniers Guth lr jagged sep and oddly propor Toned objec ae hallmark of expresso nage dsigh Reale playwrights Since expressions heyy nthe 1920 sometimes nceporce expen nen inherit rei moder ware Figure 03 Expresioiam, Wh avo ‘vomertromEtrar R's The sg Hace Note cred aan wed Epic Theatre Ec ha, someines cle Brechin tha snr the pension of al ofthe mrs hearin a atempt ro gg the suds n lel dacrion nd ation. Fp thoxre is pod and aniline. emis es de theaunce with dated and leaps tne and ple tocoage hain, sei he dame ston, en ich abl es {tudes ou of thie empathic espns that thy mh thik te pai ‘igre of te emai etn, Bch ofr snp deny age om the rome on, Tei le te ae the Berl Brechis The Goad Pron of Scns representative came, Then ‘on Wilders Ow Ti uses alenatio o communicate nlc teres ener deh Sage Mangers ae iy rater Sy ee ce ‘interrupts the action and focuses acention on Wilder's central ideas, “ Surrealiom Saris et subconscious deni wold sha fn dion mo tnd sec ho mun noe seid greed ating by nnon nd unprcraed feng In oer THrosorar seam nt mcr he dred ew foe herr ‘cvaureion nda deca exponen te demacingut of Sheer ino aes Sure both plaering snd production ye Lar dream ale ted th i ac of Olona or empl ance fen ety icc by thong Ov of My Drei Lary demo at Siete wil happen if te mares th banyan, The bls oboe emo Geet ges moma ina ei ma tee hat i (weteernuy nto ee Mot ery Tony Kaha oo pct Ang Ame dso i i sic faye Th ply, Mile prot, ros el sing su “Tint inemene wo dancer et ers ral sie vit Trcic ste dram sd the he st carn playing ceed Sense ia 1050s partian femme, Eel Rac oh iMipal oft ig aeons Roy Coa oun hi, Roly ange {roe tough nealing and anon ing an, "Geng: rope’ The pet ot bp The Memenge bs are Abrudiom ‘Auris vial pileup, asc views fea opeles Individuals se alone ina meninges univene, Language doe oe lead to commaticaton. Notble sbwurd playrigh ince Same Bechet (Wing fr Goda), Eugene loneco (The ald Spans) ad Edward Ale (Wht Afi of Vea Wola The Bald ‘Sip for crampe, (v0 mae coupler it and engage in meninges baer filed wih no que, Thi chat Suggests that he characters ae moisten to one ane, muh lee understand what sing iA thre no foal end {othe lone a age decton i to bei the play agin, Hybrid Seles Modern playwright embrace nd incorporated sme quali of hse ante Sls ine ppcholoial eam ceting yr forms ad yes. ven though mach of Eagene ONeils and Tanase Willa ply aera de yer dscribed "Shove were incorporated thei works. O'Nalls play Te Empor fms expres ‘ionic while Wiliams? Caine Reals epi ists f the moder 00, denied productions hat di nt exact com foc othe resi wove. They modi che playwright’ (fen Shakespeare ‘ho was long ded and ould not pote) gen ccummances by changing lal time, andthe ply inkeen then convention. Such dies, for eagle, include Sr Tyrone Guth Peer Brook, Mat Lato, Dani Saran and Onon ‘Weles: n1937, Well, for example, tat Carn cit aly with conempor rary cet in a hey eed veron af Shkepere ply, Postmodernism By 1 nae eon rai pp ‘one ten ema eam se Pot acer NHN deme comme he come ha rol aes amet sede, This poston te cli qucian whee pasendar foe i patantng) See scene of pnmeonon Fone she following: * ie one that as come by tay © + Abusic dep for don nse of icy ¢ Abatin dfieces and shades fearing rahe han ack oposies * Anionic apprnh othe malig stqusoning wheter se ing elect and wheter es ene ¢ Aten ofthe ident of obj, eon cin, and geo eon ceria nd ges ier * Abel tha history sno ry of progres br ase ofc somal o ieee pivieged groups for domiaon ss ‘Sir Tyrone Guthrie and the Thrust Stage (1800-1971) roe ti tece oe ft treme Pee aio orton oan, erator ncn hover ease ep nee Eroih Fh en hmercr aan He nasa waatn ae oe etn in wt bee deg ay Mosinee etd foptnne runengy ao ceiecn lamang Saas ‘ented Sines org tat Rl raonan Cooeey Sen Lot a st Mccnan surges as cera ssf sya ae Treg hat sage povedo ccm Gute’ pan ato ses sted deta mesa Scot yh Earn eed ‘ge tar a nar ert toe ead waa ae He nas ren dca Satz tan Sot nen He ‘aise onte conten etn nent roas haw spare ety ba loco man Seno Snare corse ass ‘oyna hoard yr Gare Mew wee ae permanent tat sage necatoatna se Oe ' productions of hakaspeare wore carseat aways by esting ‘fm pay anctar ie ae pace a modem ess prosetene aera met Mrewsct, parce, moe hal ian ‘ena Cana ae Pa + Adepincerin denen nisin ove seer ~e PEERS cosinor oho dns oo len serves tue pom hee fe SEuitrdecenon Nf pgs ae elim a eel co Soe eed te Seay 10 encompass postmadem approaches to plays. a a ol Cal Chad Nw, 6 an a Re Nt Uy Dah of Ee ee Gen i Leet rb, eae i aceney arpa woe pararert fag Ye ris Shverpos Fsbo aprosiccnel Cope To. ‘ope Gor tee deer wane Soe be cn sage Pe Jes as modern dtecor fen aged stp from eae ea though she ens ‘of pycholoil realism 50 poxmodatn dros often rope err mee, including modern extn radial ways These postmodern deste may aia thatthe ators rex is js one of many conibutons os padusion ec,

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