1. Actors’ Homework
2. Relaxation (Alexander Technique)
3. Ensemble (everybody acting the same play)
4. Meisner’s in-the-moment reactions
5. Step on stage and breathe.
Some examples:
1. Brecht- Created Epic Theatre, which employed “alienation effect”
as a way to distance the audience from performance, making them
think about it instead of just enjoy it. Brecht’s theatre was intended as
a social tool to provoke analysis.
It pioneered the idea of theatre in the primary role of instruction
and thought, instead of just entertainment.
2. Theatre of the Absurd – Began in France after WWII, arising from
the idea of disconnectedness and brevity of life. Absurd is intended to
point out, among other things, the lack of communication and lack of
immediacy among human lives: we’re all going to die quickly, so make
it clear and don’t waste time with stupidity!
Absurd was a theatre in which form followed theme: the dialogue
of the plays is as crazy and disconnected as the world it satirizes.
3. Butoh – Japanese “dance of darkness” also arising from WWII. Very
grotesque, usually slow-moving and not always set to music, Butoh
emphasizes the primal connections people have to nature.
By using environment as a catalyst for motion and expression,
butoh brings out a very fundamental aspect of humanity, in order to
satirize or simply emphasize those traits.
4. Kyogen – A branch of Japanese Noh theatre, kyogen is performed
before each Noh play as a sort of “opening act.” It is short and
comedic, whereas Noh is long and dramatic. Kyogen tends to play to
the lower classes, showing servants outwitting masters etc.
This is a very clear example of lower-class theatre prevailing in
popularity, and its plays combined song, poetry, and dialogue in a
unique way.
If you are more familiar with another style, then pick it. Just
remember to do 2!
Section 4: Definitions
2. Dramaturg: The person who does all the research for a show. This
guy (or gal) checks up on historical context, general
costume/furniture/prop/light fixture info, while also researching, if
necessary, specific acting needs (like for an unfamiliar form of theatre,
eg. Vietnamese water puppetry, or Brecht). All of their research is used
to make the show as clean and accurate as possible.
Example from real life! Seth Watson was the dramaturg for
Twelfth Night our sophomore year. He researched the meanings of
terms that weren’t defined by the script, and also became our stage
combat trainer/reference for fight scenes (something a little beyond
the realm of normal dramaturgy).
Study this guide and you should do fine! Remember: with
Shakespeare, when in doubt, think dirty. With Mrs. Brooks,
when in doubt, elaborate in sentence form. Good luck!