Naturalism in Miss Julie
Writers involved in the naturalist movement believed that actors' lines should be spoken naturally, and that mechanical movements, vocal effects, and irrational gestures should be banished. A return to reality was proposed, with the old theatrical attitudes replaced with effects produced solely by the voice. There was a call to individualise characters, instead of generalising them, to produce characters whose minds and bodies would function as they would in real life. Strindberg's 'Miss Julie' has been said to be an excellent example of this movement, as it involves stress on multiple motivation of action; a departure from the stereotypical depictions of character; and random, illogical dialogue. Strindberg's naturalistic conception of theatre also extends to non-literary aspects of staging such as stage décor, lighting, and make-up.
Strindberg avoids the regularity of mechanical question and answer dialogue, instead allowing his dialogue to meander, encouraging themes to be repeated and developed over the course of the play. In the preface to the play, Strindberg explains that he has broken with tradition by avoiding "symmetrical, mathematically constructed dialogue." The sexual tension and hidden aggression in the first scene of 'Miss Julie' could be said to be an example of this, especially while the cook Christine is present with Julie and Jean to inhibit the expression of what they really mean. However, it is noticeable that Strindberg's sub-textual dialogue at the start of the play radically changes once the seduction is completed and there is no more to hide. It is then that the dialogue becomes explicit and ceases to meander. An excessively theatrical sce...
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...e dialogue has entirely ceased to meander realistically, and it is hard to recognise the play itself as a cornerstone of the naturalistic movement." However, Strindberg's preface to 'Miss Julie' has been heralded as the best manifesto of naturalism written, and the techniques that he advocated such as the removal of intervals and orchestras, the use of real props, and a reduction in theatre size, have come to have strong repercussions in modern theatre.
Bibliography:
Brandt, George, Modern theories of Drama: a selection of writings on drama and theatre 1850 - 1990, (Oxford: Clarendon Press, 1998)
Strindberg, August. Three Plays. England: Penguin Group Penguin Classics, 1958.
Styan, J. L., Modern Drama in Theory and Practice: Vol .2: symbolism, surrealism and the absurd. - Cambridge, (Cambridge: Cambridge University Press, 1981)
Redmond, James, ed. Drama and Symbolism. Cambridge, UK: Cambridge UP, 1982. Vol. 4 of Themes in Drama. 1982-1986. 7-10, 37.
Novels and plays are essentially the same in the sense that they assemble the means necessary to showcase a variety of stories ranging in diversity. The quintessential underlying difference between the two is the format in which the stories are displayed. Plays, like Hansberry’s A Raisin in the Sun use literary techniques such as dialogue, acts and scenes, and stage directions contrary to novels to guide the audience’s response and interpretation of the characters and actions in the
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
Through December 5th through the 7th, I performed in Thornton Wilder’s play of Our Town. The only sets or props that the actors or actresses used where folding chairs for us to sit in, umbrellas to hide Emily (Julie Dumbler), and flats on both sides of the stage to hide the people behind them. The reason for the lack of set is so the audience can use there imagination of what the town of Grover’s Corner, New Hampshire looks like. All the rest of the props that the actors had to use were pan mimed and acted out to the fullest to make it look real. The only other experience with no set was with Miss Henery in Neodesha and it was a disaster so I didn’t know how well this was going to work out. But with the help of our director Peter Ellenstein and the rest of the cast, the pan miming was very successful. Our performance space was a modified thrust stage. The shape of the stage served us well for this play, but the back stage was horrible. All of the chairs that we had to use were folding chairs that made a lot of noise even if you hardly touched one. One neat thing about the play is that all of the sound affects were made by our backstage manager (Lisa Mitchell) or other members of the cast. In exception for the clock chiming at the end of the play. People who have seen the play tell me that it is a very heart moving play. I did not get that feeling because I was always backstage or onstage. Ether way I didn’t get to watch the play so I couldn’t see what was so moving about it. The only humor I got was from lines and the funniest person I heard was Professor Willard (Gary Mitchell). The audience is led through the entire play by the Stage Manager (Cory Venable). He literally talks to the audience between every scene explaining what is going on in the story. I thought Mr. Wilder did a good job in having a Stage Manager do this. The Stage Manager tells and shows us a story a young girl growing up and facing death, even after death. He show us how Emily Webb (Julie Dumbler) first gets to know her future husband George Gibbs (Eric Cole).
Vaughan, Virginia Mason. "Caliban's Theatrical Metamorphoses." Caliban. Ed. Harold Bloom. New York: Chelsea House Publishing, 1992. 192-206.
...terisation (Claudon). It may not be the whole answer, but it certainly plugs a few gaps that naturalism leaves open. "Commedia dell'arte" is also beneficial in any study of acting because it utilises a theatrical grammar, as well as a very intimate relationship with the audience (Crick). Now we can only wait until The Globe reopens to experiment with these theories in a purpose-built theatre.
Foreclosure in America has been a rising and prominent problem recently, and has destroyed many Americans hopes and dreams. Over 2.3 million homes were foreclosed in 2008, and an estimated four million homes will be foreclosed by the end of this year. Despite the efforts of many banks and lending companies, over half of homes will foreclose that have received their help. I believe that we have only started in the right direction in solving the foreclosure crisis. Giving money and lowering mortgage rates will help, but I believe we should find out why Americans are in this situation in the first place. We are being too stereotypical when we think the only reason someone is foreclosing is because of irresponsible payments or buying a home out of a person’s capabilities to pay for it. If we understand their situation, we will be better enabled to help and solve their crisis.
The best way to solve this foreclosure crisis is preventing homes from foreclosing one house at a time. The American family needs a simple option to save their home. My solution is based upon the concept of the homeowner paying what they are capable today, with a long term solution for the homeowner to repay the entire debt eventually. If the homeowner can now afford to make the payments, then they can escape foreclosure, rebuild their pride, and be productive citizens.
Brecht argues that the ultimate purpose of play is to induce pleasure and to entertain, and that--because of this purpose--play needs no justification. Plays should not be simply copied from or seen through older performances, but need to develop on their own to better relate to a new audience. Through the use of alienation which aims to make the familiar unfamiliar, play and theatre can be seen under a new perspective, and the actor can feel more free to perform under a new guise.
(2012, 12). Outline and Discuss Erving Goffman's Theory of Dramaturgy.. StudyMode.com. Retrieved 12, 2012, from http://www.studymode.com/essays/Outline-And-Discuss-Erving-Goffman%27s-Theory-1280254.html
Theatre Journal 37.4 (1985): 426-439. Print. Wheeler, Kip. " Literary Terms and Definitions M." Literary Terms and Definitions "M" Carson-Newman University, n.d. Web. 12 May 2014.
piece a modernist one. The play’s dialogue, technology, and the fragmentation of the piece, are
Martin Esslin, an established drama director, scholar, and critic, approaches his analysis of drama by drawing on his practical experience as a director of plays. Esslin implicitly assumes that drama is the most elite of the artistic genres when he directly declares the purpose of his book, which is to answer the question "why should those concerned with art resort to drama rather than any other form of communication?" Esslin then immediately poses another question that he seems to take as a prerequisite for the first question: "What is the underlying, basic nature of dramatic form and what is it that drama can express better than any other form of communication?"
Worthen, William B. Modern Drama and the Rhetoric of Theater. Berkeley: U of California P, 1992.
Melodramas were slowly pushed out of the metaphorical spotlight as Realism and Naturalism took its place. Naturalism is a philosophy of being able to put a ‘slice of life’ on stage (Hartnoll (ed.) 1967, p. 67); that is, a small piece of everyday life, as if the audience wasn’t there. Naturalism was a leader into the modernist period and was considered a revolutionary movement of the time. Naturalism was a new and improved kind of theatre, often confused with and mistaken for realism, which, in itself is a very similar type of theatre that began to emerge alongside Naturalism in the late 19th Century. Realism is the practise of Naturalism’s ideology; Naturalism being the theory of putting a ‘slice of life’ onstage; once something is placed on stage it is no longer ‘natural’, therefore Naturalism can never be created on a live performance stage. Realism however, is the practise of this theory in which the stage is made to look as close to real life a possible, accompanied by psychological development of characters rather than physical development, accompanied by extravagant stages, costuming and make-up, common in the melodramas seen before realism became