Impact of Theatre on a Person
Theatre throughout the ages has been an important tool in teaching
valuable life lessons. As society developed so too did the forms of
theatre. Epic theatre, developed by Bertolt Brecht, is a form of
political theatre used to demonstrate important flaws, such as racism
and world poverty, in society by alienating the audience from the
presented storyline in order to have them become intellectually
involved.
Realism can be considered epic theatres binary opposite, appeals to
the masses by using the fourth-wall technique to entice the audience
to feel empathy for the character and the situations being presented.
Although both forms of theatre vary greatly between acting and staging
techniques, they can often share common themes. An example of this
would be a comparison of 'He who says yes' by Bertolt Brecht and
'X-Stacey' by Margery Forde which both present a situation were the
audience is positioned to examine the choices a person makes in life
and the consequences of these choices.
Brecht designed Epic theatre to intellectually stimulate the audience
and have them question the motives of the characters, inter-character
relationships and the overall theme in relation to their own lives.
This can often result in disgusting the audience with melodramatic
gestures and obscure movements/actions, such as the disposal of the
boy into the abyss in order to continue the quest that they had
originally embarked upon in 'He who says yes'. Characters presented
are stereotypical and impersonal, with no individual names.
Realism positions the audience to emotionally connect with the
characters and to be und...
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...sue. Action is defiantly not aroused as the audience are too
alienated to comprehend the motives behind character interactions and
the only decision the audience is most likely to be left to make is
wether or not to walk out of the theatre in sheer disgust or boredom.
Whereas Sue Rider quotes that realism is "theatre that takes questions
and issues of real concern and treats them with respect". Drug abuse
is a pressing issue in modern society. 'X-Stacey' addresses this issue
and presents a realistic representation of drug addiction which
connects with the audience and victims of addiction.
Whether Epic or Realistic theatre, both plays deal with the issue of a
person's ability to make choices and accept the consequences and/or
the responsibilities bestowed upon them by society in direct relation
to the choices made.
One element that conveys this type of realism is Violence. In “The Black Cat,” written by Edgar Allen Poe, Poe shows how violence can affect one's character. This specific story is about how the main character has a lack of remorse
Over the course of his career, Brecht developed the criteria for and conditions needed to create Epic Theatre. The role of the audience can be likened to that of a group of college aged students or intellectuals. Brecht believed in the intelligence of his audience, and their capacity for critical analysis. He detested the trance-like state that an Aristotelian performance can lure the audience into. Plays that idealize life and humanity are appealing to an audience, and this makes it easy for them to identify with the hero, they reach a state of self oblivion. The spectator becomes one with the actor, and experiences the same fantastical climax that is unattainable in real life.
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.
Fiske writes that Watt and Williams “….tend to define it by its content. Watt traces its origins to the rise of the novel in the seventeenth and eighteenth centuries.” And Williams “…whose historical perspective covers the nineteenth and twentieth centuries, lists three main characteristics of realism in drama: he finds that it has a contemporary setting, that it concerns itself with secular action … and that it is “socially extended”.
Realism in film is significance in actual and present things, and how things actually come out. now, it is afar the capacity of this part to converse the extent of realism, we support are description upon things such as sanity, experiences, believes, manner and extra communal things such as olden times, political affairs, and finances. No matter how we identify authenticity, realism in film can be judged by administrating what we observe in own world and the world of others. Realism is also a way of conducting subject matter that follows everyday life. Practical characters are anticipated to do things that are conventional to our prospect of real people.
Eugen Berthold Friedrich Brecht, (b.1898-d.1956), known commonly as Bertolt Brecht, was a German poet and playwright. One of his major contributions to theatre history was the “alienation effect” (From the German, “Verfremdungseffekt”). Brechtian alienation requires the removal of the “fourth wall.” This is a term that describes the “suspension of disbelief” by the audience that takes place during a performance. It is often thought that the audience looks in on the play’s action through an invisible wall, just as the audience during a performance is focused upon a procenium stage. This is a literal and figurative term. The audience pretends that the characters in the story are actually alive, living in their own world instead of actors performing on a stage. In order for the fourth wall to remain intact, the actors must also, in effect, pretend that the audience does not exist, by staying in character at all times and by not addressing the audience members directly.
Brechtian theatre, also known as epic theatre, strives to keep the audience members objective and prevents
Willett, John, trans. and ed. Brecht on Theatre: The Development of an Aesthetic. New York: Hill and Wang, 1986.
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
However, it is a theatre that is most beneficial to its spectators and merely through performance and bringing about change in communities or society. Applied theatre has the potential to educate, to raise awareness, to inform, addressing issues of social concern and to transform communities or society using the tools or techniques of drama and theatre. Applied theatre is an umbrella theatre term for a number of applied theatre forms such as Prison Theatre, Reminiscence
Throughout history, civilizations have evolved in many different facets. One of these components would be communication and in a narrower aspect, entertainment. We will delve in how entertainment has evolved, enlightened, and transformed throughout time. Each era beginning with Thespis in 6th century BC to present will be discussed and detailed to show the impact that entertainment has made upon generations and how it continues to advance: from men being the only performers allowed on stage to women’s entrance into entertainment; performances once held in amphitheaters to now transmitted via satellites and broadcasted live in our homes are only a few of the many topics that will be examined in what you are about to read.
Realism may be defined as an attempt to reproduce the surface appearance of the life of normal people in everyday situations (Kennedy 1410). Basically realism is a situation that normal people can relate to based on their own experiences. Realism is extremely prevalent in the play Death of a Salesman. The characters in the play have real world problems. Lack of money is one of the problems, which is a problem for many people. There are also many conflicts within the family; related to each characters definition of success.
Theater is a natural outlet for our desire to hear and tell stories, and in some ways it is even more primal and powerful than the written word. At its worst, theater will merely bore; while at its best it will not only entertain but move and shape its audience. Two such genres of theater, or drama, have consistently achieved this effect. Tragedy, represented by the weeping actors’ mask, usually features the title character’s fall from greatness to ruin, guided by the gods or fate. Oedipus Rex, written by Sophocles, is the epitome of classic Tragedy, as defined by Aristotle (96-101). Here, Oedipus falls from kingship to blindness and exile. Drama’s other great genre, Comedy, is represented by the laughing actors’ mask. In Comedy the action is usually propelled by a problem or crisis of some sorts, but unlike tragedy it usually ends well. Lysistrata, written by Aristophanes, is a perfect example of classic Comedy. The farcical story line follows the title character, who rallies the women of Greece to withhold sex from their mates all in the good cause of ending war. At first glance these two genres would seem to have nothing in common with each other. Comedy entails laughter and good feelings while the audience will leave a Tragedy in tears. But the best of Comedy and the best of Tragedy will produce the same affect: catharsis. Catharsis is the purgation and purifying of the emotions, specifically fear or pity. (“Catharsis”) The plays that manage to produce catharsis in their audience are the ones that we return to time and time again. Although catharsis is one of the main objectives of Greek Tragedy (Jacobus 34), Comedy done well will shape and move its audience in the same way. These two classic genres use characters that are co...
My experience watching a live theatre performance on stage was a fascinating one, most especially since it was my first time. I attended a staged performance of “The History Boys” in a small theatre called “The Little Theatre of Alexandria” at 8:00 pm on Wednesday June 8, 2016 in Alexandria, Virginia. The overall production of the play was a resounding experience for me particularly the performance of the actors and the design of the scene made the play seem real.
Over the years, the essence of theatre has not only been to entertain, but to also allow the build up of a culture in a quickly growing uncultured generation. Regardless of the existence of so many other forms of entertainment, theatre has always established a commanding niche in most people’s hearts, and is undoubtedly the most realistic form of entertainment (Bruce 12). The acting bit of theatre performances makes things real and in their immediate contexts, allowing the audience to draw conclusions based on what they see. In a majority of cases, also, the play’s setting is such that there is description of definite subjects without which the play cannot make meaning. The above research takes into account A Number by Caryl Churchill. A great deal of issues and aspects can be learnt from the above play with diverse moral lessons, as well. It has long been proved that expression via acting is more direct than when the audience accesses literature in other means. This direct approach gives a broader meaning to a variety of issues in the play, which were not understood, say in videos. Additionally, the play A Number is full of theatrical ideologies with clear depiction and expression of every event. Theatricality and empowerment set this play different from other plays because of clarity in events’ sequence. The author also strives to express the idea of cloning in society as one main means of families’ downfall. This further comes with what literature calls the ‘fate of tragic heroes’, an indication of what is at stake when a person does things out of the ordinary to please him or herself.