Bread and Puppet Theatre and the Audience
The name of the Bread and Puppet Theatre hails from the custom of sharing freshly baked bread with the theatre visitors to symbolise that art should be an everyday ritual for everyone just like eating bread.` We give you a piece of bread with the puppet show because our bread and theatre belong together. For a long time the theatre arts have been separated from the stomach. Theatre was entertainment.` (Peter Schumann, Bread & Puppet official website). The foremost goal of this theatre is to raise feelings of sensitivity in the viewer and to outline what the terms 'good' and 'evil' mean, especially in political spheres. This reflects the use of the audience as being used to create this form of emotion within the performanceset up, this is done through the raising the elements of sensitivity within their audience. Theatre also places a huge emphasis on the education and popularisation of art. Artists expressing their pacifistic views, strongly opposed to the war in Vietnam, and the enormous dolls created by Schumann have since become a permanent feature in many pacifistic demonstrations. Theatre critiques racial discrimination, deaf royal of natural habitats, compulsory military service and globalism. The theatre spectacles take the role of mentors who teach is lessons of morality - they are full of symbolism, archetypes and they refer to the bible, mythology and folklore.` ìWe believe in puppet theatre as a wholesome and powerful language that can touch men and women and children alike, and we hope that our plays are true and are saying what has to be said, and that they add to your enjoyment and enlightenment ` (Robert Schumann, Bread & Puppet Theatre official website). They focus on en...
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3. Brown H. and Seitz J. (1967) `With the Bread & Puppet Theatre: An Interview with Peter Schumann`, The Drama Review: TDR, 12 (2), pp. 62-73, JSTOR [Online]. Available at: http://www.jstor.org/stable/1125318 (Accessed : 28 July 2011 )
4. Democracy Now TV, An interview with Peter Schumann by Amy Godman, 2014, Available at: http://www.youtube.com/watch?v=5DrT5TMc21M (Accessed : 23 January 2014)
5. Hamilton, R. (1983) The Bread and Puppet Theatre of Peter Schumann: History and analysis Indiana University.
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7. Jones G.L (1985) Bertolt Brecht published by Gwasg Gee in Dinbych
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.
Smith, Helmut Walser. The Butcher’s Tale. New York & London: Norton W.W. Norton & Company. 2002.
Dahl, Robert. "Lamb to the Slaughter." 1961. Elements of Literature. Vol. 4. N.p.: Holt, Rinehart & Winston, 2007. 379-86. Print.
Marc Blitzstein’s The Cradle Will Rock, published in 1938, has garnered attention from the very beginnings of its existence. It quickly seduced the initial director and producers with its varied musical styles ranging from classical arias to satirical ensemble numbers. However, this proletarian opera has reached moderate infamy not necessarily because of the quality of its content, but because of the way it reached its premiere performance. What began as a government-sponsored production became a guerrilla effort to perform in spite of government censors. This controversial piece resonated with both performers and audiences, and most of the cast’s sheer determination to present Blitzstein’s work is a source of great fascination. Due largely to the perfect storm created by the lingering tensions of the First Red Scare and the Great Depression, The Cradle Will Rock and the events surrounding its debut contributed directly to the end of the Federal Theatre Project.
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.
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Hill & Wang New York,
The first piece presented in this concert was Robert Strauss’ Metamorphosen, Study for 23 Solo Strings a piece was composed during the last months of World War II, from August 1944 to March 1945, dedicated it to Paul Sacher. It was first performed in January 1946 with ten violins, five violas, five cellos, and three double basses, this was immolated in the performance by the Atlanta Symphony orchestra on April 13th that I attended. It is widely believed that Strauss wrote the work as a statement of mourning for Germany's destruction during the war, in particular as an elegy for devastating bombing of Munich during the second World War.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
Jones, Peter G. "The End of the Road: Slaughterhouse-Five, or The Children's Crusade" Modern Critical Interpretations Slaughterhouse-Five Ed. Harold Bloom.
“Theatre is like a gym for the empathy. It’s where we can go to build up the muscles of compassion, to practice listening and understanding and engaging with people that are not just like ourselves. We practice sitting down, paying attention and learning from other people’s actions. We practice caring.” (Bill English of the SF Playhouse). This quote accurately summarises the purpose of Children’s Theatre, to help the growth and understanding of children whilst also keeping them entertained through theatrical techniques. The National Theatre’s Cat in the Hat, along with our performance pieces of Cranky Bear and Possum Magic all showcased these techniques in a number of ways, whilst also subconsciously coinciding with the child development theories
Jeremy Rifkin’s book, Beyond Beef, is an indictment against the cattle culture that has come to shape our world. America’s obsession with beef has led to increased hunger, disease and environmental destruction. Rifkin, without a doubt, is anti beef and with painstaking verisimilitude attempts to shed light on the horrific conditions which are brought about by the entire industry. Furthermore, his book is somewhat of a continuity of Upton Sinclair’s novel The Jungle, the first attempt made at exposing the exploitations of the meat slaughtering industry.
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
...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.
John Williams Interview for Music Express Magazine. Perf. John Williams. YouTube, 20 Apr. 2012. Web. 21 Nov. 2013.