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what is theatre theory

what is theatre theory
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Stephen Greenblatt’s report puts it succinctly: the arts are supposed to be part of the cognitive life of the university. is not natural. In philosophy, theater is usually not given much thought at all, with the exception perhaps of a tradition of philosophical commentary on tragedy, ultimately in the wake of Aristotle. One of them is a report authored by Stephen Greenblatt about the importance of art making for the cognitive life of the university;2 Harvard’s President, Drew Faust, who commissioned the report, has been especially supportive of this effort as well. We're hoping to do the same in Epsilon Theory.  In any case, when seen through this Manichaean lens, it is clear that Plato is on the upswing. in Romeo and Juliet; Tybalt slipped on the wet outdoor stage and Barring natural disasters or professorial dissent, by the time this conference meets, the Faculty of Arts and Sciences will have voted in favor of establishing a concentration in Theater, Dance, and Media. But there is an alternative starting point, and that is the first and most forceful anti-theatrical philosopher of them all, Plato. He believed that many of the conventions of theatre, prescriptive play texts – ‘words’, he felt, ‘should have the importance they have in dreams’ – and proscenium arches, worked against what he saw as the magic of the form, the ritual of theatre. Another contribution to this conversation is by Paul Woodruff, who turned his attention to theater in 2008 with a book entitled The Necessity of Theater.5 He did so after a career spent focusing on Socrates and Plato. In other words, this embrace affects not only how we think about theater but also how we do theater. that it should not, and certainly in many cases it DOES), but it doesn't There are few essays that have riled up thespians more reliably than this short piece of juvenilia, written by the 23-year-old art historian. cut himself badly with his knife). In this context, the anecdote, reported by Diogenes Laertius, that the young Plato himself wrote tragedies makes a lot of sense. The essay is, famously, not about theater; it is about minimalism and an attack on minimalism. it sees and hears." These phrases have become so familiar that it is sometimes difficult to hear how the adjectives modify the noun. A very different picture emerges, one that binds theater and philosophy more closely together. Augusto Boal, that's who. Other articles where Théâtre Alfred Jarry is discussed: Theatre of Cruelty: …and Robert Aron founded the Théâtre Alfred Jarry in 1926; they presented four programs, including August Strindberg’s A Dream Play and Vitrac’s Victor, before disbanding in 1929. The growing subfield called theater and philosophy–or philosophy and theater–is perhaps best registered in two phenomena. Rather, he noticed how weird method acting actually is in attempting to turn one human being into another human being, combining an odd set of psychological and philosophical underpinnings. It's hard to be larger than life in a smaller than life world. It is used to describe theatre praxis from Konstantin Stanislavski's development of his 'system', through Vsevolod Meyerhold's biomechanics, Bertolt Brecht's epic and Jerzy Grotowski's poor theatre, down to the present day, with contemporary theatre practitioners including Augusto Boal with his Theatre of the Oppressed, Dario Fo's popular theatre, Eugenio Barba's theatre anthropology and … This core insight became a driver for a number of performance pieces aimed at exposing method acting by pushing it to its logical extreme. Strangely, though, this institutional context has also served me well; such is the cunning of history. Read more I have a hunch that a particular form of art making, our form of art making, will be next. You watch someone else's problems, let them deal with it, and celebrate in their triumphs. When the chara… Theory/Theatre provides a unique and engaging introduction to literary theory as it relates to theatre and performance. He described a ‘spectator seized by the theatre as by a whirlwind of higher forces’. For my sins, I have found myself confronted with an institution that had been more than happy to hand theater studies to its arch-rival, Yale University. Other significant theater artists, including Peter Sellars, Wallace Shawn, Natalie Portman, and Matt Damon, as well as Diane Paulus, who now heads the A.R.T., have emerged from this environment. Let me return to the beginning, the institutional configuration of theater. Welcome to Crash Course Theater with Mike Rugnetta! We agree to accept non-reality as reality for the duration of the art experience (performance). Theater and theory, it turns out, have always been entangled in a strange sort of embrace, albeit one that has included quite a bit of kicking and biting, which we have only recently had the wits to see. The arts can be divided traditionally into the: Useful arts: medicine, politics, persuasion can be taught. They do not reduce reality to a single variable (although they do reduce reality in some form). Samuel Taylor Coleridge During the theory explosion, which reached theater studies late, theory was a rather free-floating endeavor, unmoored from specific disciplines, if not intellectual traditions. � Eric W. Trumbull, 1998-2007. -. There are many ways in which experimental theater is different from scientific experiments. Boal (1931-2009), was a Brazilian theatre director who took a strong interest in the relationship between performance and audience. Finally, the student goes out into the world as another person, is asked to acquire experiences as and, in some sense, for that other person. As it happened, however, I was not alone. Theatre is a practical subject that encourages discovery through experimentation, the taking of risks and the presentation of ideas to others. We know we are not watching (experiencing) reality, but art. But the kind of experimental, theory-infused pedagogy I have in mind also points in a different direction, in our local case, beyond the Charles River to Allston. Right now, Allston houses the Harvard Business School; it will soon also house the relatively new School of Engineering and Applied Sciences. One reason that so many people like theatre is that it provides an opportunity to escape. Theory/Theatre provides a unique and engaging introduction to literary theory as it relates to theatre and performance. The last ten years have seen a flowering of interest in theater and philosophy to the extent that one might reasonably speak of a growing subfield. For one thing, there should be a philosophical strain, a certain emphasis on the kind of thinking that happens with, in, and against theater. It is [Book] Theory Theatre An Introduction theory theatre an introduction As an introduction to theatre theory this book is a pleasure to read, and what's more - it is understandable! And it gave us a new lever with which to investigate actual theatrical practice, now seen through the lens of this intellectual inquiry. The term has shifted over time as the mainstream theatre world has adopted many forms that were once considered radical. Real: People and spectator can get hurt. It is difficult to pinpoint the moment when this type of theory ran out of steam. This raises an immediate follow-up question: what is, and what is the purpose, of a liberal arts education?  for the characters on-stage - we are involved, yet Levine was not going to sell method-style realism as the new avant-garde. (I saw Hamlet  at the Sylvan Theatre in 1966-67, But what is the purpose of this practice? We have "aesthetic distance" - "the factor which experiencing art. Who wouldn't love that? How to elaborate on this cognitive understanding of theater practice? At the very least, theater programs could be the bridge between the two. During the laborious process leading up to this vote, I have had ample opportunities to think about how to teach theater at an institution that has such a long history of skepticism concerning theater as an academic discipline. What could he contribute? So many authors of these type of books write with their head in the clouds, flexing their vocabulary muscles so much that it becomes a bore to read. To be sure, if, despite our best efforts, our students become the next generation of set designers, directors, actors, or playwrights, we will not feel that we have failed. But, at least according to the standard histories of these fields, this is very much not the case with theater studies, which might be more accurately described as a series of footnotes to Aristotle, or rather, not to Aristotle the philosopher but to Aristotle the author of the Poetics, which means Aristotle the theater critic.

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