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Reflection on theatre
Reflection on theatre
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The very essence of Contemporary Theatre is that is such a diverse realm of performance art. Many different playwrights have contributed to this post World War Two theatre that instead of keeping to just one narrow genre it was able to branch out to cover all aspects and views of an ever transitional modern society. Theatrical pieces from this time period have ranged from Existentialism, pioneered by Jean Paul Sartre, to the Theatre of the Absurd, which was precedented by Samuel Beckett, and all along the way a myriad of performance genres sprung up to support this new post-war society. Most plays of the contemporary theatre tended to focus up on one single aspect of theatre, though a group of men formed a performance troupe that would ever change such a notion. Monty Python’s Flying Circus revolutionized the stage performance, incorporating many aspects of modern day theatre; such as realism, surrealism, futurism, existentialism and of course Theatre of the Absurd, for no Python sketch was sans an eccentric dash of absurdity.The very roots of Monty Python lay in the humble beginnings of six men, five British and one American, who took to the stage in college and never looked back.
The six Pythons; Graham Chapman, Eric Idel, Michael Palin, Terry Jones, John Cleese, and Terry Gilliam, began their acting drudgeries before the footlights but not without a struggle. Much of their work was initially considered too risqué for college theatre, though eventually, but a few years down the road, after several stints with other performance acts one of the greatest comedic troupes to ever be born of the British Theatre were gathered for their first show on October 5, 1969 to a mediocre crowd at best. Michael Palin said it best when he claimed that “their first viewers were insomniacs, intellectuals, and burglars” (Howard xxiv). Though many failed to realize it, it was that initial audience that was attracted, the combination of such extremes that would come to make up many of the Troupe’s future fans. It is theorized that it might have been their middle class upbringing, either in the States or in England, which lead to form a structure up on which to base their comic stylings, societal attitudes leading them to become exposed to society and in turn gave them something to rebel against.
From such humble beginnings, and a rather slow start ratings wise, Monty Python...
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...e, whether it be live theatre or even movies in our modern society do have those pieces of Python influence in them with each stabbing satirical remark about the government or sexual innuendos. Actor Kevin Klein had once said that much of his own comedic style was rooted in the Pythonian way of visual comedy, not only audible.
Lorne Michaels the creator of Saturday Night Live has oftentimes given credit to Python for setting the standards for sketch television as well as theatre. Though the actual birth of Monty Python’s Flying Circus was up on the sound stage of a television studio the live theatre roots were imbibed into each performance. Leave it Monty Python to find a way to make sketches about the Spanish Inquisition, Death, buying a dead parrot, and a song about Lumberjacks more than just highly amusing. The comedic team was a tight knit netting of brilliance matched with humor, which has in turn kept the troupe going strong still more than thirty years later and still appearing to the new generations with what would be otherwise considered outdated humor. A true indication of permanant influnce is time, and Monty Python’s Fling Circus has certainly got that decades later.
Shakespeare’s Twelfth Night is a comedy that has been interpreted in different ways, enabling one to receive multiple experiences of the same story. Due to the content and themes of the play, it can be creatively challenging to producers and their casting strategies. Instead of being a hindrance, I find the ability for one to experiment exciting as people try to discover strategies that best represent entertainment for the audience, as well as the best ways to interpret Shakespeare’s work.
From these comedians, satirical humor expresses some opinions about political acts so people can view them more critically.
Picture a short, round, confused man, standing next to someone tall, slick, and intellectual, and you have a duo that brought laughter to numerous audiences. Together Bud Abbott and Lou Costello formed a team with great chemistry; by using their natural abilities and deep backgrounds they produced a successful career that carried on throughout three decades. Steve Allen agrees, "Only a very talented team like Abbott & Costello could have survived the transition from burlesque and vaudeville to radio to films to television to night clubs, over a period of twenty-two years" (qtd. in Costello xii).
Slide, Anthony. The Encyclopedia of Vaudeville. Westport, CT: Greenwood, 1994. Google Books. Web. 1 May 2014.
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”.
and at the circus is one of humour. We are led to believe that they
...nd action someone is doing something funny to get a react In both, you have to get a idea for others opinion or to evoke an emotion. On stage when doing a parody the characters have to release anything that they are hold inside to play that character best position similar to releasing any tension in that jokes or punch line .
Parkland College has produced a new musical for the 2013-2014 season called Spamalot. The original of this play, Monty Python’s Spamalot is a musical comedy adapted form the film Monty Python and the Holy Grail. The plot of the show is a parody of Arthurian Legend and retails the legend of King Arthur and his Knights of the Round Table. The original 2005 broadway production, directed by Mike Nichols was a huge success. It won three Tony Awards, including the Best Musical for the season and received 14 Tony Award nominations. Moreover, during its initial run of over 1,500 performances, it grossed over $175 million with more than two million audience. The production in Parkland College was also very successful with the tickets being sold out for most of the shows.
In the 2004 book, Status Anxiety, Alain de Botton argues that the chief aim of humorists is not only to entertain but “to convey with impunity messages that might.be dangerousor impossible to state directly.” Some agree that humorists serve a vital function to society. However, others argue that the opposite is true. A humorist is one who is skillful in the use of humor. This includes cartoonists, stand-up comics, satirical writers, hosts of television programs, and others. Although the work of such humorists may seem crude and is often controversial, it is an effective way to shed light on important subjects in the modern world.
American musicals just weren’t proving successful- as they were focusing on the previous century’s trend of “substance over spectacle”. However, ‘Brit Hits’ became overwhelmingly successful by breaking away from the previous ideal and creating a theme of ‘bigger and better!’, focusing primarily on creating sights over substance. With casts and creative teams of the shows being larger than ever, as well as the aid of technology advancements- it proved to be the way to go! Larger sets and bigger special effects were introduced, including helicopters flying onto stage and chandeliers crashing on stage. Due to higher budgets and musical theatre reaching its peak, shows like Cats changed the way theatre published and promoted. In the past, shows had only souvenir programs or shirts, but Cats’ signature pair of yellow eyes, plastered the show’s logo, across coffee cups, jackets, ornaments, key chains, pins etc.- anything that could be thought of, changing the course of advertising. These “Brit Hits” showed a promising future for musical theatre, bringing in tens of thousands of new fans and showcasing a real ‘WOW’ factor through the ideal of big budgets, big effects, big orchestration, big casts and overall, big
Before analyzing the comedic content in question, it is important when drawing on a variety of sentiments from comedians to understand that many performers use a character or parody for their humor. Others choose to voice opinions and views contrary to their own, in the hopes of receiving a certain reaction from a specific audience. In referring to the material of writers and comedians, one must respond to the beliefs they promote (which can be known), rather than those they espouse, which cannot.
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.
Humor has been the source of entertainment throughout history. Today humor is practiced in movies, plays, songs, television shows and radio. Humor has brought fame and fortune to those who have mastered its power.
The nature of comedy has always left it somewhat resistant to critical analysis, and to some extent the same can be said for comedic actors. The class-clowns of Hollywood like Will Ferrell are often times constructed as being nothing more than amusing, so they seem like a simple case study.... ... middle of paper ... ...
One of the most famous types of television comedy is the sketch comedy style. Greg M. Smith, in his article “Red Skelton, The Crack-up, and the Quick- change” explains how the move of vaudeville acts to television created the template for all sketch comedies. A small number of performers, often only one or two, “depended on interchangeable acts that could be juggled into different configurations for a show, the sketch necessarily is narratively compartmentalized. Plot elements from one sketch do not carry over to the next, necessitating that the performer slip from one role to another as he/she moves from sketch to sketch.” (n pag) Today’s sketch comedies continue to run independent multiple short sketches per episode. Although they may now have recurring characters, frequently still, only a single-time character is played. Just as there is a prevalence of one actor playing multiple roles per episode, so also are the situations, locations, and interactions often differentiated completely from one scene or show to the next. Some or all of these elements can be found in such shows as Monty Python's Flying Circus, Saturday Night Live, The Whi...