chapter 2 theater appreciation

THEATRE: A WAY OF SEEING

PART ONE: THEATRE'S SEEING PLACES

Chapter 2: The Seeing Place
A. Ritual and Theatre

  • Throughout history, theater space has been arranged for visibility: audiences must see, and performers must be seen.

  • Theater focuses on social needs through showing and saying, while ritual reinforces or produces change.

  • Examples of rituals that show change:

    • Marriage Rite: A wedding ceremony symbolizing union.

    • Puberty Rite: Coming-of-age ceremonies, such as Quinceañera.

  • Early Performance Spaces: Theater originated as a ritual space linked to agrarian and fertility rites.

    • Historical Connection: Rituals are tied closely to special locations designated by community.

    • Example: The Beltane fire festival on Edinburgh's Calton Hill is a modern reinterpretation of ancient Gaelic rites.

    • Rituals included enactment, imitation, and seasonal performance meant to ensure societal continuity, navigating themes of life, death, and rebirth.

B. Theatrical Performance

  • Theatre, akin to ritual, entertains while provoking thought on social, cultural, political action, and human behavior.

C. Western Theatre

  • Theatrical space consists of two elements: stage and auditorium.

  • The Theatre of Dionysus in Athens, constructed in the 5th century BCE, is the earliest known permanent theatrical space.

    • Greek theaters were built into hillsides to utilize natural perspective, crucial for the actor-audience relationship.

    • Greek theater emerged as a religious festival in honor of Dionysus, the deity of wine, ecstasy, fertility, and theater.

  • The Theatre Structure:

    • Orchestra: Central circular area, meaning "dancing place", located between the audience and the stage (skene).

    • Chorus Structure: Initially consisted of up to fifty members, later reduced to twelve or fifteen, representing human society and acting as the play's community voice.

      • The chorus sets ethical frameworks, reacts to characters, and adds visual and auditory spectacle (costumes, masks, instruments).

  • Actor vs. Chorus:

    • Actors represent heroic figures, distinct from ordinary mortals.

    • Theater evolved significantly from its origins through the 1st century BCE, with structural changes, such as the semicircular orchestra and advancements in the skene.

  • Aristotle's The Poetics (4th century BCE) defines The Three Unities:

    • Unity of Action: A single plotline.

    • Unity of Time: The action occurs within a specific timeframe.

    • Unity of Place: Action occurs in a single location.

    • Example from tragedy: Oedipus the King by Sophocles exemplifies effective theater according to these principles.

D. Roman and Medieval Theatre

  • The Roman conquest of Greece in the 2nd century BCE incorporated Greek culture into Italy, leading to a decline of theater (approx. 500 years).

  • Medieval Theater (1000-16th Century):

    • The Catholic Church revived theater for didactic purposes, presenting playlets in churches to explain Christian doctrine.

    • The concept of trope originated, stimulating medieval church drama and later developments after the Dark Ages.

  • Plays began outdoors and evolved from priestly performances to lay performers, growing complex with secular themes.

  • Plays were grouped in cycles focusing on biblical parables from creation to the world’s end, sponsored by towns and guilds.

  • Types of Medieval Staging:

    • Fixed/Linear Platforms: Platforms with a long playing area and audience sections for views.

    • Movable Stages/Pageant Wagons: Similar to modern parade floats for performances and audience interaction.

  • By the late 1500s, England saw the construction of permanent theaters, reflecting a commercial shift towards secular plays.

    • The Globe Theatre (1599) became synonymous with Shakespeare and hosted a variety of performances.

    • The Elizabethan Playhouse featured a thrust stage, audience around three sides, and audience variances (groundlings, galleries, box seats).

E. Eastern Theatre

  • Theatrical traditions in Eastern societies typically developed separately from Western traditions.

  • Chinese Theatre:

    • Xiqu (music drama) thrived during the 13th century Yuan dynasty, leading to the dominance of Chinese Opera by the mid-19th century.

    • Zaju Drama emphasized historical and contemporary narratives advocating virtues of loyalty and duty.

    • Performances featured bare staging with entrances/exits through doors; costumes were elaborate and stylized.

  • Japanese Theatre:

    • Noh Theatre: Developed in the 14th century, characterized by its stylized performances.

      • Stage design has remained traditional with fixed elements and significant symbolism (pine trees representing heaven, earth, humanity).

      • The principle actor (shite) typically represents an aristocrat or supernatural being, while secondary characters (waki) counter with their roles.

    • Kabuki Theatre: Also originating in the mid-17th century, known for its elaborate stage technology and stylized performances, where actors took on various character roles with distinct makeup styles.

  • Indian Theatre:

    • Traditional forms like Kathakali, influenced by Hindu epics, encompass ritual mute performances that narrate stories of gods and demons.

    • Sanskrit Drama: Flourished as court entertainment with significant works from playwrights like Kalidasa.

    • Modern Indian Theatre: Has diversified since British colonial influence and renewed interest in traditional forms post-independence.

F. Conclusion of Chapter

  • Theatrical Roots: The examination and documentation of theater's origins highlight its connection to rituals, storytelling, and dance across various cultures, showcasing a robust relationship between performers and audiences.