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More handpicked essays just for you.
Importance of art and its impact on society
Importance of art and its impact on society
Importance of art and its impact on society
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A Greater Purpose
“The theatre was created to tell people the truth about life and the social situation,” says Stella Adler. Theater is unique and intriguing because it blends literary and visual arts to tell a story. Throughout the course, I have learned that understanding aesthetics and sociopolitical history is essential for appreciating and applying theater in the real world. Brechtian and musical theatre styles, such as applying musical theatre in RENT, are effective methods to convey crucial historical and social messages, utilizing theater as a platform outside of the arts and for a greater purpose of positive social change.
Brechtian theatre, also known as epic theatre, strives to keep the audience objective and prevents them from connecting
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RENT uses musical theatre to reflect New York City’s East Village in the late 1900s and the historical tensions of labor divisions, segregation, political differences, and social issues under the cheesy and catchy tunes, such as “Seasons of Love” and “La Vie Boheme.” In middle school, I was in a child-friendly version of the musical. Since it was a less provocative and controversial edition, I perceived the musical to be a production of starving artists finding community in New York as they pursue their dreams. After learning more about RENT, I discovered the depths and nuances that the musical entails. RENT follows a group of starving artists and their bohemian world of love triangles and struggles. The musical also tackles the issues of the HIV/AIDS epidemic (Schulman 14). Jonathan Larson was inspired to write RENT because he wanted to use a musical as a platform to raise awareness for HIV/AIDS and honor his close friends’ who he lost due to HIV/AIDS (Gioia). Theater, particularly musical theatre, is timeless. RENT takes place in the late 1900s, but its themes are still pertinent today. For example, in present day Downtown Los Angeles, gentrification is occurring with the city displacing people from their homes and creating complications of homelessness. The problems of people not being able to afford their rent are still relatable in various geographic locations around the world. As Stacy Wolf says, “a new revival of any given musical is always possible” (Wolf 55). RENT can be performed today as a method of advocating for reforms on homelessness, poverty, and HIV/AIDS. Musical theatre is a part of the commodity culture (Wolf 51). Since musical theatre is commercialized and popular, it appeals to a range of diverse demographics. The large audience musical theatre attracts makes it an efficient platform to expose the urgencies and realities for specific social phenomena and issues.
The musical Rent by lyricist, librettist, and composer Jonathan Larson surprised Broadway in 1996. Rent stormed Broadway at the Nederlander Theatre and became a phenomenon. It won several prestigious awards, including a Pulitzer. Located on the eve of a new century, Rent depicts a year in the life of a group of friends living in the Lower East Side of New York. All in their twenties, they live a bohemian life, guided by principles that tend more towards the achievement of ideals to an agreed social mobility. This life somewhat offset from the rest of society ensures that the characters must face the inevitable gap between their dreams and reality. In their case, the reality is, among others, in the form of a concrete evil in this era: AIDS, which is the major theme of this musical. Indeed, throughout the play, everyone is affected directly or indirectly by the effects of the virus, whether interpersonal or social, and inevitably, medical. Yet despite the potentially disastrous consequences of such a syndrome, a positive momentum bonds the small community. In the end, despite some setbacks, rather than daunted, the eight friends learn to celebrate life and try to enjoy every moment with those they love. Aware of the terrible reputation of the virus, Larson tries to deconstruct the negative image of AIDS, not only insisting to live with it and
In Dialogue: Theatre of America, Harold Clurman said, “we make theatre out of life” (27), and it was precisely this view that motivated him to help create a uniquely American theatre. Clurman, considered one of the most influential directors of the modern American theatre, had a unique vision of what the American theatre could become. One of the founders of the quintessentially American troupe, the Group Theatre, Clurman was a contemporary of Elia Kazan and Lee Strasberg, and even married to Stella Adler for twenty years. At a ceremony honoring Clurman, Elia Kazan stated that Clurman’s “greatest achievement [was] himself” (Harold Clurman: A Life of Theatre). An important figure in our theatrical past, Clurman’s theories on theatre and directing require close attention. In this paper, I will first provide a brief biography of Clurman, second, examine his theories of theatre and directing, and lastly, I will explore his criticisms of the then-contemporary theatre, and draw conclusions to the current state of the Broadway theatre.
Generation X has finally taken out a lease on the future of theatre, and it looks like it is more than able to pay the "Rent" (Coulbourn 43). "Rent" is a musical for our time, for our generation and for generations to come. It has won numerous Tony Awards including best musical, book, score, lyrics, and ensemble performance. This musical is an excellent representation of cultural religion and it has had a profound impact on society both in the 90's and today. "Rent" is not only a representation of the culture of the new millennium but is an excellent representation of the faith of a new generation.
When I hear the word Rent, I immediately see an eclectic Broadway production, overflowing with talent, adventure, and magic. I picture scantly clad actresses, strutting across the stage. I envision stunning duets and thought-provoking lyrics. That single word transports me to a different time and place.
It is difficult to imagine a play which is completely successful in portraying drama as Bertolt Brecht envisioned it to be. For many years before and since Brecht proposed his theory of “Epic Theatre”, writers, directors and actors have been focused on the vitality of entertaining the audience, and creating characters with which the spectator can empathize. ‘Epic Theatre’ believes that the actor-spectator relationship should be one of distinct separation, and that the spectator should learn from the actor rather than relate to him. Two contemporary plays that have been written in the last thirty years which examine and work with Brechtian ideals are ‘Fanshen’ by David Hare, and ‘The Laramie Project’ by Moises Kaufman. The question to be examined is whether either of these two plays are entirely successful in achieving what was later called, ‘The Alienation Effect”.
Bertolt Brecht was a German playwright, theatre critic, and director. He created and developed epic theatre with the belief that theatre is not solely for entertainment but also tools for politics and social activism. Previous theatre performances offered a form of escapism. The audience would become emotionally invested in the performance. In contrast to the suspension of disbelief, Brecht never wanted the audience to fall into the performance. He wanted the audience to make judgments on the argument dealt in the play. The aim of epic theatre is to detach the audience from any emotional connection in order for them to critically review the story. The ultimate goal of this theatre is creating awareness of social surroundings and encouraging the audience to take initiative on changing the society.
The Brechtian style of performance is a style of theater in which the audience is balanced between two modes of viewership. On the one hand the Brechtian style requires that the audience watch the show engaged emotionally, but not in the classic Aristotelian cathartic way. On the other hand it requires that the audience stay critically active in dealing with the performance, thus, achieving an alienated political and educational response among the members of the audience. Naturally this style of theater produces a conflict of interests in the direction of a show. Should the performance focus on garnering political influence and sway, or should the production be emotionally compelling and relatable, or perhaps a combination of both? In order
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Hill & Wang New York,
My work proposes a broader view of the theatre-film interface, one that relies on intertextuality as its interpretive method. I believe it is valuable-both pedagogically and theoretically-to ask broad questions about the aesthetic, narrative, and ideological exchanges between the history of theatre and contemporary film and television. For example, this paper will study how the "Chinese Restaurant" episode of the sitcom, Seinfeld, intertextually reworks Samuel Beckett's modernist play, Waiting for Godot. In each text, characters encounter an existential plight as they are forced to wait interminably, and thus confront their powerlessness at the hands of larger social forces. As a pedagogical matter, this connection encourages the students to see academic culture in the guise of having to read Beckett's play for my course, not as foreign and alienating, but instead as continuous with their understanding of leisure activities like watching sitcoms. As a theoretical matter, this intertextual connection allows important ideological matters to come into bold relie...
The 2000s/ 2010s brought in a wave of movie musicals- adapted from the stage shows. These brought new audiences into the theatre world, and for the first time in 20 years, brought a love to some of the timeless musicals. With slightly altered songs to appeal to a newer audience, these films brought in much needed money into the industry, with films including: Les Misérables, Phantom of the Opera, Rent, Hairspray, Mamma Mia, Fame- and many more. Together with this, musicals began to push the concept of the songs in them, with a wave of new styles being written. Rap musicals such as ‘Hamilton’ and ‘In The Heights’, Pop musicals including ‘Waitress’ and ‘Dear Evan Hansen’ and Rock musicals of ‘American Idiot’ and ‘Spring Awakening’. Together they pushed boundaries of a ‘traditional’ musical theatre sound, and brought in something never before seen. Due to the influence of ‘Rent’, controversial issues and themes began to be explored more, such as Teen suicide, Murder, Ethnic barriers and everything else, which brought with them, a world of opportunities. It was clear that musical theatre was once again showing for a promising
“The theatre was created to tell people the truth about life and the social situation,” says Stella Adler. Theater is unique and intriguing because it blends literary and visual arts to tell a story. Before Theater 10, I viewed theater on the surface level: cheesy plot lines with dramatic scenarios for entertainment purposes. Throughout the course, I have learned what it means to appreciate theater, such as understanding Brechtian and Chinese theatre; however, I believe understanding theater’s ability to convey crucial historical and social messages, such as in the production of RENT, is more relevant and important for theater appreciation.
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
“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”
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.
For thousands of years, people have been arguing that theatre is a dying art form. Many people think theatre is all just cheesy singing and dancing or just boring old Shakespeare, but there is much more to theatre than those two extremes. Theatre is important to our society because it teaches us more about real life than recorded media. Theatre has been around for thousands of years and began as a religious ceremony that evolved into an art form that teaches about the true essence of life. Theatre can incorporate profound, and provocative, observations of the human condition that can transcend time; lessons found in Greek plays can still be relevant to the modern world. People argue that the very essence of theatre is being snuffed out by modern