Studied by 28 people
Hinduism on Theatre
-early Indian theatre stems from Hindu mythology -Hindus believe in one Universal soul referred to as Brahman. Brahman is in everything, Brahman is everything. To be united with this perfect, unchanging, and supreme essence is the aim of Hinduism. -Oneness with Brahman frees individuals from the cycle of rebirth.
Shinto on Theatre
Animistic; influenced early Japanese theatre
Buddhism on Theatre
-no caste system; the middle way: leading a life between luxury and austerity; enlightened leads to Nirvana (release from the cycle of rebirth)
Christianity on Theatre
-Western Theatre momentarily disappears due to the decline of the Roman Empire and the rise of Christianity because
theatre and popular entertainment were rooted in pagan rituals and worship
the actors of the day (mimes) were crude, erotic and immoral
mimes mocked Christian practices such as prayer, baptism and communion
Byzantine Era:
church continued its disapproval of theatre, performers denied church sacraments; secular theatre produced classical and Hellenistic Greek plays, mimes, pantomimes and dancing
The mythological origins of Sanskrit theatre as described in the "Natyasastra" and the caste system
-Early Indian theatre is referred to as dance-drama or total theatre. -Relied heavily on music and symbolic movement. Strong integration of music. -The actor was dominant. -Over time, specific gestures and stances became associated with certain characters. -Spectacle was valued in performance -Costumes and makeup indicated the character's historical period, caste, social position, etc -There was no scenery -"Natyasastra": means "the art of theatre" Includes a myth about the god, Brahma, teaching Nātya (drama, dance, and music combined) to the priest, Bharata, and his 100 sons.
The Caste System and theatre
-people in India are born into an inescapable caste system -Actors were typically not regarded well in society; troupes of performing artists were from the Sudras caste and were backed by royal patronage. Brahmans (priests) sometimes performed in holy drama; myth states that Brahmans had been the original actors. -All castes were invited to be part of the audiences
Shakuntala
-Story taken from the epic poem Mahābhārata. -Dialogue is spoken in classical Sanskrit (verse) and Prakrit (prose), which is everyday/vernacular language. -Shringara (erotic romantic) is dominant rasa
Sukeroku: Flower of Edo
Sukeroku tries to defend his father; read summary
The Second Shepherd's Play
Shepherd and trickster shepherd
Everyman
Searches for a companion to die with
The feast of fools
a festival presented in some monasteries and catherdrals around Christmas/New Year's was likely inspired by pagan festival Saturnalia, the minor clergyman would ridicule their superiors
Religious vernacular drama
-new form of drama started to emerge in the early 1200s -scholars debate whether it grew out of liturgical drama or not, but there were many similarities -presented outdoor and became too elaborate for church sanctuaries -written and performed in common language
Corpus Christi
often would feature plays celebrating the humanity and divinity of Christ through the Eucharist
Bharata Muni
considered the father of actors and wrote Nātyaśāstra
Kalidasa
-the most famous Sanskrit dramatist -wrote Shakuntalā
Kan'ami
led a Sarugaku-nō troupe (Yazaki) and later founded nōh dance-drama.
Zeami
Nōh is theatre for the elite; perfected the art and is the form's most pertinent artist
Chikamatsu Monzaemon
-One of the only major dramatists of bunraku. -Commonly wrote domestic dramas about the conflict between personal feeling and social duty/responsibility. -He primarily wrote historical dramas about war heroes
Okuni of Izumo
Created kabuki
Emperor Constantine
-founded Constantinople in Eastern Rome -legalized Christianity in the Roman Empire
Emperor Justinian I and Empress Theodora
Theodora was a prostitute and an actress
Hrosvitha
-first female playwright we know of, admired work of Terence and was known as Christian Terence -her plays glorified Christian virtues such as conversion, redemption of sins, martyrs, virgins -wrote six closet dramas unlikely performed in her time
Medieval Church Ritual as it Transitioned into Liturgical Drama:
-held in sanctuaries of churches, cathedrals, or monasteries; time was in canonical hours -participants: clergymen, choir boys, and some religious students, later nuns performed in convent drama -scenario was worship or annual celebrations like Easter -costumes were like robes or symbols
Hildegard von Bingen
-German nun, feminist, scientist, philosopher, theologian, musical composer, dramatist, etc. -Believed music was the best expression of our love, devotion, and worship of God. -Wrote the first morality play in 1151
Sanskrit Drama
-Stories primarily based in Hindu mythology. -Approx. 25 Sanskrit plays have survived -One to ten acts take place. -Single act must take place in 24 hours. -No more than one year can pass between acts -Locations frequently jump between heaven and earth.
Kuttiyattum
-"acting together" or "acting and dancing together" -Strong classical Sanskrit heritage mixed with Kerala folk drama -The longest-lasting form of theatre in the world. -Up until the mid-20th century, Kutiyattam was only performed by priests (the highest caste) in temples and only upper castes were in attendance. -The movement and speech of kutiyattam is drawn out. -Historically, performances could last up to days, weeks, or over a month. Today, performances are typically only a handful of hours long.
Kathakali
-An hybrid of secular and sacred traditions -Stories are based on Hindu epics. -Scripts are short, but performances last all night. -Traditionally, performances began at dusk and ended at dawn with the symbolic killing of a demon. -All castes can attend performances. -Actors do not speak but embody stylized, pantomimic movement to orchestral singing and instrumental music. -Traditionally there were only male performers (training took decades); Today, some women perform. -Unlike Sanskrit theatre, death and violence occur on stage.
Kagura
Early forms* of Shinto ritual dance, based on Japanese mythology. Some kagura dance is still performed today
Bugaku
court and dance movement, inspired by Korean and Chinese court dance; dancers move to gagaku (court music)
Sarugaku
lively entertainment combining circus-like acts and religious ritual; Buddhists priests appropriated
Noh
-everything on the stage is very symbolic -5 types of Noh plays: written pages are short but performances can be 30min-2hours -actors are male and undergo rigorous training from a young age; today some women perform -movement is set and must be perfected; high physical, gestural, and slow -text is usually chanted or sung; difficult to understand even for Japanese
Kyogen
act as comical interlude between Noh plays; parodies of Noh plays sometime -may utilize stock characters; never really inappropriate -less reliant on music and don't usually use masks -props and costumes are simple
Bunraku
-comprised of: narration, music and puppets; narrators speak all of the lines -historical and domestic are two main types; three puppeteers -popular love suicide plays were eventually banned -Bunraku puppets are about 4 feet tall and head is made of wood
Kabuki
-literally means song, dance, theatre; Japan's popular total theatre -started by a Shinto priestess Okuni of Izumo No who mixed Buddhist rituals, noh, and folk dance -originally only women performed: dances and short drama plays 1629: the government banned women's kabuki due to Samurai prostituting the performers; next, women's kabuki was succeed by young men/boys kabuki; 652: boys were banned from kabuki for the same reason women were -all-male cast, even today; actors typically master one type of role -the craft has been passed down from father to son for generations
Liturgical drama
short, written and sung in Latin; first associated with Easter tropes; told stories of Jesus's life, OT and NT characters
Cycle plays (mystery, miracle, etc.)
-miracle plays, morality plays -mystery play was not staged during a religious service and focus on the Bible or the saints (Miracle plays), part of a cycle -Cycle play had numerous presented in one sequence; passion play depicted the ministry, death, resurrection, and ascension of Christ
Passion plays
Depict the ministry, death, resurrection, and ascension of Christ.
Morality plays
Its purpose is to teach a moral lesson (acts as a sermon). -Primary focus: life after death. -About ordinary people instead of biblical figures or saints -Characters are allegorical, who represent ideas (death, purity, greed, integrity, etc.) Costumes reflected this. -Mainly found in England (1400-1550 approx.) but not absent from other European countries.
Bhavas
-emotional moments expressed by the character; expressed through movement, singing, words, murdras; leads to rasas -eight fundamental ones
Rasas
-the overall mood or sense of composure, experience by the audience -entire purpose of the performance; what the audience is left with -there were originally eight with a ninth added later
Mudras
Acting is highly physical and stylized with codified gestures
Nataka
You should know there are ten types of Sanskrit dramas but will not need to know their names, with the exception of Nataka.
Chiasmus/Chiasm
a literary device where section/s are repeated of a earlier section/s in a reverse order (like a mirror).
Sudtradhara
lead actor who functioned like a modern-day producer/director
Chutti
is typically worn by the hero. It brings attention to the emotional expressions of the face and represents beauty and purity.
Monomane
mimesis, embodying the character
Hana
flower, the spontaneity of performance, revealed at the perfect time
Yūgen
the act of embodiment through elegant aesthetic; the heart and aim of Noh
Shite
central character, often masked but can be unmasked, beings from outside the world of reality
Waki
support to the central character, rarely masked, representative of living people
Hashigakari
The stage is connected to the backstage by a corridor called "hashigakari." It is used not only for performers to enter and exit, but also to represent a path linking the real and spiritual worlds.
Five types of noh masks
elderly, man, woman, demons or monsters, spirits or deities
Jiutai
Japanese chorus of 6-10 people
Hayashi
three or four person orchestra at the back of the stage
Jōruri
narrator who chanted text accompanied by music. Only the chanter/s speak the lines of the play.
Two main types of kabuki plays
historical plays- serious, often glorify the samurai domestic plays- serious or comic, often tales of familial life and love
Hanamichi
raised, narrow pathway connecting the back of the theatre to the front of the stage, an audience favourite
Shamisen
a three-stringed lute type instrument that accompanied actor
Onnagata
Woman character, popular role
Hippodrome
chariot races that were popular entertainment during the Byzantine era
Sacred theatre
any religious play written were most likely closet dramas, may have depicted biblical scenes during religious festivals, aimed to reconcile Christianity with the classical origins of theatre
Tropes
extended musical passages which later included reciting, chanting, and singing (Latin) often as a call and response.
Quem Quaeritis
-first liturgical drama -Exchange between Angel/s and the three Marys (Virgin, Magdalene, of Bethany).
Mansions
Scenic House
Platea
Performing Space
Oberammergau
Passion Play in Germany performed every ten years
Pageant master
-A role similar to a modern-day stage manager, producer, and director (with no artistic vision). -Oversaw the entire cycle of plays. -Roles varied town to town and duties may have included: Securing and managing actors and craftsmen/guilds, Organizing rehearsals, Manage finances, Crowd control, Publicity.
Master of secrets
Oversaw stage effect? Actually not sue
Secrets
Stage effects of Byzantine era theatre
What is the name of the main character in a nōh drama who wears a mask?
Shite
Why do scholars think that church dramas in Latin transformed and moved outside the church?
Became too elaborate for church sanctuaries.
Kyogen were both clown-like characters found in noh plays, often providing context between part one and part two of the drama, as well as short, comic sketches presented between the five-lengthy noh plays. True or False?
True
Characters were often allegorical in morality plays. True or False?
True
Essay: Describe bhavas and rasas.
Essay: This question has two parts. First, explain the origins of Kabuki theatre and its change in performers during its early years. Secondly, describe two ways the script Sukeroku: Flower of Edo captures the kabuki style.
Essay: Compare and contrast liturgical drama, mystery plays, and morality plays. Consider a minimum of three characteristics (origins, design elements, content, performers, etc.) from all three.
Note 
Flashcard (33)