chapter 1 and 2

What is Theatre?

Theatre is a multifaceted term that refers to both a physical location and a creative practice.

• The Physical Space: A building or specific environment designed for theatrical performances.

• The Discipline: An art form encompassing history, cultural practices, and the institutional frameworks that support performance.

Why Do We Go to the Theatre?

1. The Unique Quality of Theatre

Unlike film or television, theatre is defined by Live Performance.

• The Immediate Bond: There is a unique, "lightning-in-a-bottle" relationship between the performer and the audience.

• Personal Contact: The energy of a live crowd directly influences the actors' performances in real-time.

2. A Historical Connection

Theatre serves as a bridge through time, allowing us to share the experiences of those who lived millennia ago.

• The Greeks: Established the foundations of Tragedy and Comedy 2,500 years ago.

• The Romans: Developed domestic comedies that serve as the direct prototype for modern Television Situation Comedies (Sitcoms).

3. Reflecting the Human Condition

Theatre isn't just about amusement; it provides a mirror to our souls.

• Profound Observations: It tackles timeless ideas, moral dilemmas, and probing insights into what it means to be human.

• Emotional Resonance: It provides a platform for expressions that go beyond simple spoken words.

Theatre as an Art Form

What is Art?

Art is a mirror or reflection of life—an extension of how we live, think, and feel. It focuses on the things humanity treasures, admires, or fears most deeply.

The Three Categories of Art

Examples

Characteristics of the Performing Arts

• Temporal and Spatial: They move through time and occupy physical space.

• Interpreters & Creators: They require both a creator (playwright/composer) and an interpreter (actor/dancer).

• The Audience: A performing art is not complete without a group to witness it.

The Art of Theatre: Essential Elements

For theatre to occur, these collaborative elements must be synchronized:

1. Audience: The "essence" of theatre is the interaction between the performer and the observer.

2. Performers: Actors who undergo a transformation, leading the audience to accept them as characters.

3. Text or Script: The blueprint for the production, featuring dramatic structure, focus, and point of view.

4. Director: The coordinator who ensures the production is cohesive and rehearsals are productive.

5. Theatre Space: The physical environment where the "meeting" of performer and audience happens.

6. Design Elements:

   • Visual: Costumes, Lighting, and Scenery.

   • Non-Visual: Sound and acoustics.

Globalization and Diversity in Today’s Theatre

Theatre Globalization

Globalization refers to how different nations and cultures influence one another's theatrical traditions.

• Global History: While European and Asian traditions date back over 2,000 years, African, Latin American, and Native American cultures have long utilized theatrical elements (masks, ritual, impersonation) in ceremonies.

• Modern Exchange: Since 1900, Western styles like Realism and Expressionism have blended with non-Western traditions, making it difficult to classify modern theatre by a single culture.

Patterns of Global Change:

• Interaction: Cultures meeting through performance.

• Adaptation: Taking a story from one culture and retelling it through the lens of another.

• Collaboration: Artists from different nations creating works together.

Diversity and Multiculturalism

Contemporary theatre is a vibrant "tapestry" that includes:

• Revivals: Bringing historical plays to modern audiences.

• Multiethnic/Multicultural Theatre: Recognizing the diverse voices within a single society.

• Political Theatre: Using the stage to challenge status quos or highlight social issues.

Theatre Beyond the Stage

Theatricality is not confined to a proscenium arch; it permeates our daily existence and the media we consume.

Theatre in Television

Television uses specific theatrical "tools" to engage viewers:

• Soap Operas: Use heightened emotion, suspenseful scene endings (cliffhangers), and musical cues similar to 19th-century Melodrama.

• Sitcoms: Direct descendants of Roman Domestic Comedy, utilizing farcical situations, physical humor, and sexual double entendres.

• Procedurals (Police/Hospital): Rely on clear "Hero vs. Villain" archetypes and the "neat" resolutions found in traditional stage dramas.

• Variety & Reality Shows: Influenced by Vaudeville and Minstrelsy, these shows use exaggerated "characters" and staged conflict to drive narrative tension.

Theatre in Film

The relationship between stage and screen is cyclical:

• Adaptations: Classic plays (Shakespeare, Greeks) and modern musicals are frequently filmed.

• Stage-to-Screen & Back: Films like The Lion King or Hairspray often find a second life as massive Broadway productions.

• Star Power: The "cult of personality" around actors bridges both mediums, fueled by the audience's fascination with their private lives.

Theatricality in Rock and Roll

• Personas: Artists like David Bowie or Alice Cooper perform as specific theatrical characters.

• Spectacle: Concerts utilize stage lighting, props, costumes, and scripted choreography.

• Jukebox Musicals: Entire Broadway shows are built around the catalogs of rock icons (e.g., Mamma Mia! for ABBA or Jersey Boys for The Four Seasons).

Theatrical Environments

We encounter "staged" experiences in non-traditional spaces:

• Amusement Parks & Las Vegas: Rides and casinos are designed as immersive sets to transport guests.

• Museums & Restaurants: Use "theatrical" lighting and décor to create idealized atmospheres.

• Sporting Events: Arenas function as theatre spaces, complete with halftime "spectacles," light shows, and dramatic team introductions.

II. The Theatre Audience: The Vital Ingredient

The most significant difference between theatre and digital media is the live audience.

The Interaction

• Chemistry: A performance is a "feedback loop." Performers are encouraged or discouraged by audience reactions (laughter, silence, applause), often changing their timing in response.

• Uniqueness: No two performances are identical because the "live" element cannot be edited or repeated perfectly.

The Psychology of Watching

1. Willing Suspension of Disbelief: The audience's agreement to "believe" in the reality of the play (e.g., accepting that a wooden floor is a forest).

2. Aesthetic Distance: The necessary mental separation between the audience and the art. You must be aware it is a performance to appreciate it as art; if you forget it’s a play and call the police during a stage fight, you have lost your aesthetic distance.

III. Diversity of Audiences

The "who" of theatre has shifted significantly throughout history:

Demographic

IV. The Theatre Critic: "An Audience of One"

While every audience member is an "amateur critic," the professional critic provides context and analysis.

Reviewer vs. Critic

• The Reviewer: Works for newspapers/TV. Provides a quick summary and a "thumbs up/down" opinion. Restricted by short deadlines.

• The Critic: Writes for journals or books. Provides deep historical context and detailed analysis. Usually possesses a formal education in theatre history.

The Three Criteria for Criticism

When evaluating a show, a critic (and a student!) should ask:

1. What is being attempted? (What was the playwright’s or director’s goal?)

2. How well has the attempt succeeded? (Did they achieve that goal?)

3. Was the attempt worth making? (The subjective value of the work.)

Descriptive vs. Prescriptive Criticism

• Descriptive (The "Aristotle" Approach): Focuses on describing what is happening on stage and its effect on the audience.

• Prescriptive (The "Horace" Approach): Offers advice and sets strict rules for what a play "should" be.