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Bertolt brecht influenced by
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Our performance lecture looked at the relationship with an audience and aimed to depict researched material about chosen practitioners and theatre styles in an unconventional manner that demonstrated the techniques explored in our readings.
When considering material for our performance lecture it was decided that, by selecting such a specific topic as ‘the relationship with the audience’, it would be beneficial to look at the works and styles of different practitioners. Using this method illustrated that the techniques of our chosen practitioners: Bertolt Brecht, Tim Etchells (Forced Entertainment), Eugene Ionesco, Peter Handke and Luigi Pirandello often interconnected and influenced one another. It was found that by researching practitioners we transitioned into also researching their favoured style of theatre, such as Brecht looking at Epic Theatre or Etchells and Postmodern Theatre.
By looking at these styles and techniques of theatre it was found that although the practitioners’ ideologies were similar, the theatre type demonstrated an aim to create a particular relationship with a specific audience type, which is what we wished to highlight. By assigning each member of our group a specified style and practitioner to research and represent proved useful in order to cover a wide breadth of research. It also allowed our audience to physically see the similarities and differences between styles and eras by having a ‘representative’. This was used as a basis to structure the research material into a slightly unconventional lecture.
By structuring this material into a reality styled performance, with which the audience would be familiar, made the lecture recognisable, engaging and fitted the idea of ‘audience interactivity...
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...mproved there would be a need more ‘lecture’ type aspects as other performance lectures seemed to have leaned towards. This would include more of an open discussion that felt comfortable, and the inclusion of more conventional ways of depicting material in order to keep the lecture balanced such as a slideshow. Similarly other lectures included re-enactments of texts which could have been beneficial when discussing the styles of practitioners.
In conclusion, the performance lecture seemed successful in conveying the researched material in an unconventional way and also in demonstrating the techniques and styles researched. However, it may have benefitted from a better balance between academic and satirical.
Works Cited
Esslin, Martin. The theatre of the absurd. New York: Doubleday, 1961. Print.
Etchells, Tim. Certain Fragments. London: Routledge, 1999. Print.
Jennie, Schulman. "Geoffrey Holder: A Life in Theatre, Dance, and Art." Back Stage 20 Sept. 2002: 11-12. Rpt. in Back Stage. N.p.: n.p., n.d. N. pag. Print.
Typically, the relationships between theatre and film are encountered--both pedagogically and theoretically--in terms of authorial influence or aesthetic comparisons. In the first method, an instructor builds a syllabus for a "Theatre and Film" course by illustrating, for example, how Bergman was influenced by Strindberg. In the second method, the aesthetic norms of the theatre (fixed spectatorial distance and stage-bound locations) are compared to those of the cinema (editing and location shooting) to determine which art form is better suited (or "superior") to which material.
Thom, P (1992), For an Audience: A Philosophy of the Performing Arts (Arts and Their Philosophies), Temple University Press
performance to a major degree reflects the spirit of the times, and some of today's 'authentic' performances have less to do with historical accuracy, attempting rather to produce a performance which, in John Eliot Gardiner's words, will 'excite modern listeners.' (Sartorius)
Through providing a micro-level analysis of the “self” through theatrical dramaturgy, Goffman supplies an adequate account of how modification of the “self” happens via performance. Taking parallel theories and ideas, each author builds upon the arguments of the other and Goffman provides enough detailed examples of social development through performance to satisfy the treatises of Berger and Luckmann’s account. Therefore, the arguments of Goffman and Berger and Luckmann work best when combined, giving us the most insight into the “self.”
Lazarus, Joan. "On the Verge of Change: New Directions in Secondary Theatre Education." Applied Theatre Research 3.2 (July 2015): 149-161. EBSCOhost, doi:10.1386/atr.3.2.149_1.
... a way for audiences and performers to connect on a closer level. They are both experiencing the surreal, disassociating themselves from the performance taking place. They both become more introspective. The performance becomes a vehicle for self-understanding, metacognition.
Societies progress can lead to intercultural similarities, and vastily obvious differences. These influences can be seen within the contemporary theatre of the times, explaining and progressing the status of community through storytelling and performance. The reactions to these changes are important, and help shape the society we have today. These elements are best seen between the medieval ans renaissance period.
Applied Theatre work includes Theatre-in-Education, Community and Team-building, Conflict Resolution, and Political theatre, to name just a few of its uses. However, Christopher Balme states that “Grotowski define acting as a communicative process with spectators and not just as a production problem of the actor” (Balme, 2008: 25). Applied Theatre practices may adopt the following “theatrical transactions that involve participants in different participative relationships” such as Theatre for a community, Theatre with a community and Theatre by a community Prentki & Preston (2009: 10). Whereas, applied theatre one of its most major powers is that it gives voice to the voiceless and it is a theatre for, by, and with the people. However, Applied Theatre practitioners are devising educational and entertaining performances bringing personal stories to life and build
In the seventies, we could do anything. It was the rainbow coalition, anti-Vietnam, all of those elements. And then we morphed over to where it became extremely straight-laced and non-risk taking. I think we are beginning to take risks again but within those societal norms.” Theatre only goes so far as society will allow it, as showcased by the Conservatory and it being influenced by the culture surrounding it. The mirror that is theatre reflects a culture and what it may want or not want to know, depending on how far it is allowed to
Theatre-In-Education The theatre education industry/movement has seen some rapid changes since its initial developments and establishment in the 1960’s. However its origins mainly lie in the early years of the last century. It was the initial establishment of companies such as Bertha Waddell’s in Scotland and Esme Church’s in the north of England that thoroughly established the main roots of TIE.
...n, Elaine. & Savona, George. Theatre as a Sign-System: A Semiotics of Text and Performance (London: Routledge 1999)
Theatre as we know it now was born more than two thousand years ago and has gone through many streams until it reached the current modernity. Among these streams is the avant-garde theatre. This theatre achieved a break in the traditional theatre and became the forefront of a new experimental theatre. Therefore it is necessary to ask how this theatre started, what impact it had on society and if this type of theatre is still common in our modern era.
Theatre will always survive in our changing society. It provides us with a mirror of the society within which we live, and where conflicts we experience are acted out on stage before us. It provides us with characters with which we identify with. The audience observes the emotions and actions as they happen and share the experience with the characters in real time.