CH-1-4 Theatre is Everywhere – Theatre: The Lively Art : Book Guide

This Document Contains Chapters 1 to 4 Chapter 1 Theatre is Everywhere Overview and Outline Why should I study theatre? Before the rise of technology the only way audiences could see theatre was to leave their homes and attend a live performance. In the face of such technology spectators still attend the theatre primarily because it is live. The most significant difference between films and theatre is the relationship between the performer and the audience. At the heart of the theatre experience, therefore, is the performer–audience relationship—the immediate, personal exchange whose chemistry and magic give theatre its special quality. One measure of the amazing health of live theatre today is the astounding range of opportunities we have of attending theatre, with locations, not only in the United States but throughout the world, presenting a greater variety of theatre offerings perhaps than ever before. A rising consciousness of diversity has been reflected in live performance in the form of global and multicultural theatre. Many organizations have emerged that present productions by and for groups with specific interests including feminism; gay, lesbian, bi-sexual and transgendered points of view; and many others relating to diversity in politics, race, gender, ethnic background, and sexual orientation. We also see this diversity in the form of global theatre. Theatre is the fountainhead of all drama in whatever form it appears: film, television, computer, or theme park. The characters of film and television—the heroes, the villains, the victims, the comic figures—all come straight from predecessors in theatre. The way stories are structured—the early scenes, the succession of crises, the withholding and revealing of information—were there first, hundreds of years ago, in the theatre. Our interest in media stars’ performances and lives parallels the way audiences throughout the history of theatre have engaged with actors and actresses. We can see the impact of theatre all around us today. Theatre exists in many aspects of our everyday lives and has influenced many of our popular entertainments. Theatre permeates our everyday lives as we and those with whom we interact play roles. We play such roles at work, at home, and with those we know and love. Rock and roll performances emphasize stage spectacle, lighting, and sound effects. We can also see theatrical influences in our visits to amusement parks and museums. When we visit dinner theatres throughout the country, and when we visit Las Vegas, we recognize the pervasiveness of theatrical elements. Digital media from the computer to Xbox to the iPad and smartphones are clearly influenced by theatre. While theatre may amuse it also has the unique ability to incorporate in dramatic material profound, provocative, timeless observations about our human condition. Theatre Today A. The Unique Quality of Theatre B. The Range and Accessibility of Theatre C. Global and Multicultural Theatre Theatre, Television, and Film A. Theatre and Television B. Theatre and Film Theatre is Everywhere Theatre and Rock Music Theatricality in Amusement Parks, Museums, Las Vegas and Sporting Events Theatre and Digital Media IV. Theatre and the Human Condition Feature: Playing Your Part: Thinking About Theatre Terms nonmediated theatre regional theatres community theatres site specific theatre performance art global theatre Topics for Discussion 1. Has the mass media, such as TV and film, replaced the need for theatre? If all these ways of telling stories already exist, why do we need theatre at all? While TV and film have expanded the ways we tell stories, theatre offers a unique, live, and communal experience. The direct interaction between actors and audiences creates a sense of immediacy and shared presence that screen media cannot replicate. Theatre also serves as a space for experimental storytelling and cultural reflection, preserving its relevance. 2. This chapter says we all play roles in our lives. Does this mean that there is no “real us”? Are we all always actors? The idea that we play roles in life doesn't negate the existence of a "real us." Instead, it suggests that we adapt to social contexts by presenting different facets of ourselves. While we may take on various roles, these roles reflect different parts of our identity, not a complete abandonment of authenticity. 3. Why do you think that our world is becoming more and more theatrical? Why would this be a trend right now? Is it something to be resisted or embraced? Our world is becoming more theatrical due to the rise of social media, performative aspects of identity, and public visibility. This trend reflects a culture of self-presentation and entertainment, where people consciously curate their personas. It can be both embraced, as a creative outlet, or resisted, to preserve a sense of authenticity. 4. Why are we fascinated with celebrities? What effect do you think this adulation has on the personal and artistic lives of these celebrities? We are fascinated by celebrities because they symbolize aspirational lifestyles, success, and fame. This adulation can lead to immense pressure on celebrities, affecting their personal lives by blurring the line between public and private, and sometimes stifling their artistic freedom due to audience expectations. 5. The textbook discusses theatrical elements that appear in rock concerts and places such as Las Vegas and Disneyland. What other examples can you provide of theatrical elements appearing in concerts, sporting events, or other arenas? What purpose do theatrical elements serve in these instances? Theatrical elements in concerts, sporting events, and festivals—like lighting, stage design, and scripted moments—enhance the audience's emotional engagement and spectacle. These elements transform events into immersive experiences, heightening excitement and making them more memorable, connecting attendees to the event on a deeper, emotional level. Exercises and Demonstrations Visit websites for the major hotels in Las Vegas. What theatrical aspects are they emphasizing? Make notes for examination when you have finished reading later chapters of this textbook. How are lighting, costumes, sound, sets, and story being used to draw people to the casinos? Las Vegas Hotel Websites: The major Las Vegas hotels emphasize theatrical elements to create an immersive experience. Lighting is often used to create dramatic atmospheres, especially with neon lights and LED displays, both inside and outside the casinos. Costumes in shows and performances add to the spectacle, while soundscapes enhance the immersive experience in gaming areas and live performances. Set designs within the hotels replicate extravagant themes—such as ancient Rome (Caesars Palace) or Venice (The Venetian)—and storytelling often ties into specific shows or entertainment experiences that draw visitors in. Watch one of the filmed productions of the Cirque du Soleil. How has the traditional circus been transformed using theatrical elements? Cirque du Soleil and Theatrical Transformation: Cirque du Soleil transforms the traditional circus with an emphasis on storytelling, choreography, and thematic elements. The use of costumes, elaborate sets, and carefully crafted lighting design immerses the audience in a fantasy world, while live music and soundscapes enhance the emotional resonance. Unlike traditional circus acts that focus mainly on stunts, Cirque performances integrate acrobatics with plot and character development, creating a seamless theatrical experience. 3. If you happen to be producing a play that is also available in a film version, select specific scenes for the class to focus on in performance and then compare reactions and responses about those scenes in the live performance versus the film version. Comparing Play vs. Film Version: If producing a play also available as a film, select key scenes with high emotional or action content, like a climactic confrontation or a pivotal dialogue exchange. In live performance, the immediacy and audience interaction can make the scene feel more intense or intimate. In contrast, the film version can use close-ups, special effects, and varied angles to enhance certain elements of the scene. Comparing reactions, students will likely note differences in how each medium creates emotional engagement and the unique strengths of live theatre versus film's visual storytelling techniques. Chapter 2 The Audience Overview and Outline Art is a mirror or reflection of life: an extension or a projection of how we live, think, and feel. Art reveals to us what we treasure and admire, and what we fear most deeply. Art can be divided into three categories: literary, visual, and performing. The literary arts include novels, short stories, and poetry. The visual arts include painting, sculpture, architecture, and photography. The performing arts are theatre, dance, opera, and music. We also differentiate art in temporal and spatial terms. The performing arts have many characteristics in common including movement through time, the need for creators and interpreters, and the requirement of audiences. Common elements to all theatre are audience, performers, and script or text, a director, theatre space, and design aspects. Theatre is a collaborative art. The presence of an audience is an essential element in a live theatre performance. We participate vicariously through heart and mind. The audience engages in “a willing suspension of disbelief” even though we also experience various aspects of theatre through aesthetic distance. Just as no two performances of the same production are ever exactly alike, no two audiences are identical. Each audience is composed of a different mix of people, with varied ages, educational backgrounds, and occupations. Among the diverse groups toward which productions are aimed and whose members constitute specific audience groups are African Americans, Asian Americans, Latinos and Latinas, Native Americans, feminists, gays and lesbians, and other political and experimental groups. Also, the particular response of each audience affects the acting of the performers. A special member of the audience is the critic or reviewer, who is assumed to be a knowledgeable observer of the theatre event. A reviewer is usually a reporter for a newspaper, magazine, or television station. After viewing a theatre event, the reviewer describes it and gives his or her own opinion as to whether it was well done and is worth seeing. A critic, usually writing for a magazine or scholarly journal, describes and analyzes a theatre event in greater detail than the reviewer does. The critic should have a solid education in theatre history, dramatic literature, and theatrical production so that he or she can offer readers an informed judgment along with useful background information. Personal blogs and other forms of social media have given rise to other opinions about theatre productions. The term dramaturg comes from a German word for “dramatic adviser.” In Europe, the practice of having a dramaturg, or literary manager, attached to a theatre goes back well over a century. There are cautionary notes, however, of which we should be aware. Quite often critic/reviewers state unequivocally that a certain play is extremely well or badly written, beautifully or atrociously performed, and so on. Because these so called authorities often speak so confidently and because their opinions appear in print or on the Internet, their words have the ring of authority. But as theatergoers, we should not be confused or unduly influenced by them. I. What is Art? Characteristics of Art Characteristics of the Performing Arts II. The Art of Theatre The Elements of Theatre Audience Performers Script of Text Director Theatre Space Design Elements Theatre as a Collaborative Art III. The Role of the Audience How the Audience Participates Make-up of Audiences Past and Present Where we See Audiences Audience Responsibility IV. The Audience and the Critic, Reviewer, and Blogger The Critic, Reviewer, and Blogger Social Media and the Audience as Critic, Reviewer, and Blogger Preparation for Criticism Fact and Opinion in Criticism Critical Criteria What is Being Attempted Have the Intentions Been Achieved Was the Attempt Worthwhile? The Dramaturg or Literary Manager The Audience’s Relationship to Criticism Feature: Playing Your Part: Thinking About Theatre Terms visual arts performing arts spatial arts temporal arts script or text director willing suspension of disbelief aesthetic distance reviewer focus groups dramaturg or literary manager Topics for Discussion 1. Explain the essential differences between the literary and visual arts on the one hand and the performing arts on the other. What do the various differences allow one art to do better than other arts? What differences prevent an art form from doing certain things? Answer: answers will vary. The essential difference between literary and visual arts versus performing arts lies in their mode of expression and audience interaction: • Literary and Visual Arts (painting, sculpture, writing) are often static and permanent, allowing audiences to engage with them at their own pace and interpretation. These forms excel at providing detailed descriptions, symbolism, and complex narrative structures that unfold in the reader or viewer's mind. They allow for introspection and deep analysis but are limited in their ability to create immediacy and dynamic interaction. • Performing Arts (theatre, dance, music) are live, time-bound, and ephemeral, relying on the presence of performers and audience in the same space. They excel at creating immediacy, emotional intensity, and shared experiences. The energy of live performance can amplify feelings, and the dynamic nature of the medium allows for spontaneity. However, their transient nature means they cannot be "paused" or revisited in the same way as a book or painting, limiting prolonged reflection during the performance. These differences allow literary and visual arts to excel in presenting rich, layered narratives or visuals that demand reflection, while performing arts are better at creating emotional impact through live, human connection, but less suited for prolonged introspection during the experience. 2. In the text, a script is compared to a blueprint of a building. What other comparisons might be made? (Possibilities include a diagram of a football play, a computer flow sheet, and a road map). What information is missing from a script? Could it be included? Why might it be better not to do so? A script could be compared to several things beyond a building blueprint: • Diagram of a football play: Just as a football play outlines player positions and movements but leaves room for adaptation based on real-time decisions, a script provides structure but allows actors and directors to interpret and adapt based on performance dynamics. • Computer flowchart: A flowchart maps out potential processes or pathways, much like a script outlines character interactions and plot progression, while leaving room for interpretation in tone, pacing, and staging. • Road map: A script, like a road map, guides the journey but doesn’t dictate the exact speed or style of travel. The performers and directors determine how the journey is experienced. Missing Information from a Script: The script often lacks specific instructions about emotions, gestures, pacing, and set design—elements that are left for interpretation. Including such detailed information might constrain creativity, limiting the director’s and actors' ability to bring their own vision and spontaneity to the performance. Leaving space for interpretation allows each production to be unique. 3. Describe the transitory nature of theatre and the other performing arts and how they are different from literature and the visual arts. The transitory nature of theatre and the performing arts lies in their live, time-bound quality. Performances exist only in the moment they are being enacted—once a play, dance, or concert is over, it cannot be precisely replicated. Each performance is unique, shaped by the interactions between performers, the audience, and even the environment. This ephemeral quality creates a sense of immediacy and shared experience, with both audience and performers contributing to the outcome in real-time. In contrast, literature and the visual arts are permanent and static. A book, painting, or sculpture can be experienced multiple times in the same form, allowing the audience to revisit and reflect on it at any point. These art forms do not change based on audience reception or timing; their meaning and interpretation may evolve, but the artwork itself remains unchanged. The transitory nature of performing arts makes them more dynamic, allowing for spontaneity and variation with each performance. However, this also means that once a performance ends, it can only live on through memory or recordings, lacking the permanence of literary and visual works. Conversely, literature and visual arts offer enduring experiences but lack the immediacy and emotional intensity that live, performative encounters provide. 4. The elements that must be present in order for theatre to take form are audiences, performers, and a text or script. What happens when one of these elements is no longer present? • Without an audience: Theatre becomes incomplete, as the audience’s reactions and energy fuel the performers. It becomes more of a rehearsal or private performance, lacking the dynamic interaction that elevates the live experience. • Without performers: Theatre loses its essence of live action and human interaction, turning into a static medium. Without performers, even with an audience and script, the intended emotions and story cannot be brought to life. • Without a script: While some performances can be improvised, a script provides structure, direction, and cohesion. Without it, the narrative can become fragmented or aimless, though improvisation itself can form a type of performance art. 5. Go to http://www.nbc.com/ and watch a show (or a short segment of a show) with a live studio audience like the Tonight Show, and then watch a show without an audience or a laugh track like The Office. How do the two experiences compare? Did the absence of a laugh track inhibit your laughing? Why or why not? Now, compare both those experiences to being in the audience at a live event. At the live event, did the audience around you affect your involvement? Why? Which experience did you find most enjoyable? Why? Comparison of Shows with and without a Live Studio Audience or Laugh Track: Watching a show with a live studio audience, like The Tonight Show, feels interactive as audience reactions—laughter, applause—cue viewers to respond. In contrast, The Office without a laugh track lets the humor emerge more naturally, allowing for personal interpretation of comedic moments. The absence of a laugh track didn’t necessarily inhibit laughter, but it required more active engagement from the viewer to recognize humor. Live Event Experience: At a live event, the surrounding audience amplifies the experience. Their reactions—laughter, gasps, applause—enhance emotional involvement, creating a communal atmosphere. This shared energy heightens your connection to the performance. Most Enjoyable Experience: The live event is often the most engaging because of its immersive, communal nature. The spontaneity and direct connection with performers and the audience create a unique, in-the-moment excitement that’s difficult to replicate in pre-recorded shows. Exercises and Demonstrations 1. Read professional critics’ reviews of three current Broadway plays. Find (if possible) three different reviews for each play—one that is positive, one that is negative, and one that is mixed. Identify quotes from each review that prompted you to feel this way. (Broadwayworld.com provides links to professional reviews as does Playbill.com. Reading Reviews of Three Broadway Plays: You can visit Broadwayworld.com or Playbill.com for links to professional reviews and locate reviews for current Broadway shows. For each play, look for: • A positive review that praises elements such as performances, direction, or story (e.g., "The cast brings an electrifying energy that makes the show a must-see"). • A negative review that critiques aspects like pacing, staging, or coherence (e.g., "The production feels disjointed, with a lack of clear direction throughout"). • A mixed review that acknowledges both strengths and weaknesses (e.g., "While the performances are strong, the plot loses momentum halfway through"). Identify quotes from each review that highlight why it’s positive, negative, or mixed. This will help to see how critics’ opinions vary on the same show. 2. Discuss what is more important in making a decision as to whether to attend an event: reviews, or the advice of a friend? Why? Reviews vs. Advice of a Friend: Deciding whether to attend an event based on reviews or a friend’s advice depends on personal preferences. • Reviews provide professional, often detailed analysis and insights into various aspects of the production—acting, direction, technical elements—allowing you to make an informed decision based on a broad perspective. • Friend’s advice is more personal and relatable. Friends may know your tastes and preferences better than a critic, offering a recommendation that aligns with what you typically enjoy. The balance between the two depends on how much you value professional expertise versus personal experiences. Often, a friend's recommendation might feel more trustworthy if they know your specific interests. 3. Read some of the theatre reviews at the following sites: http://theater.nytimes.com/pages/theater/index.html http://www.nypost.com/entertainment/theater If possible, read two or more reviews for the same show. Do the writers sound more like reviewers or critics? Now visit the site http://movies.go.com/ (click on the “Reviews” tab) and read some of the film reviews. Compare the reviews. Are they similar or different? Comparing Theatre Reviews and Movie Reviews: • On theater.nytimes.com and nypost.com, theatre reviews often focus on the artistic interpretation, performances, and live experience of the show. Writers typically sound like critics, offering deeper analysis, opinions on the creative elements, and the overall impact on the audience. • When reading reviews on movies.go.com, movie reviews tend to be more reviewer-oriented, often providing a summary of the plot, key performances, and some critique. Movie reviews can be more consumer-driven, focusing on entertainment value, whereas theatre reviews delve more into the nuances of performance art. Comparing the two, theatre reviews are often more in-depth, addressing the ephemeral nature of live performances, while movie reviews focus on broader audience appeal and cinematic experience. Chapter 3 Creating the Dramatic Script Overview and Outline In most cases the starting point of a production is the script. It is also referred as the text. The script may be thought of as a concept or blueprint for a production. Playwrights must make choices about selecting the specific subject of the play, determining focus, establishing purpose, developing dramatic structure, creating dramatic characters, and establishing point of view. There are several essential aspects to dramatic structure: plot, or the arrangement of events; action which is a sequence of events linking cause and effect; conflict or tension between two or more characters that are strongly opposed and balanced, or evenly matched. Dramatic structure is composed of a sequence of events. They are the opening scenes, obstacles and complications, and crises and climaxes. The two most common forms of structure are climactic plot construction and episodic plot construction each of which have their own identifying characteristics. There are, however, many other kinds of dramatic structure such as ritual, pattern, cyclical or serial structures. Avant-garde, experimental, segments and tableaux represent other forms of dramatic structure. Playwrights also create characters to carry out the dramatic structure. Types of dramatic characters may be extraordinary, representative or quintessential in nature. There are also stock characters as well as characters with a dominant trait. Minor characters, or a narrator or chorus, or even nonhuman characters round out the kinds of characters a playwright may create. These characters may be used in all kinds of combinations juxtaposing one against the other such as with the protagonist and antagonist. I. The Playwright Creates the Script II. The Playwriting Process III. Subject IV. Focus V. Dramatic Purpose VI. Structure in Drama A. Essentials of Dramatic Structure a. Plot b. Action c. Conflict d. Strongly Opposed Forces e. Balance of Forces B. Sequence in Dramatic Structure a. Opening Scene b. Obstacles and Complications c. Crises and Climaxes C. Two Basic Forms of Structure a. Climactic Plot Structure b. Episodic Plot Structure c. Combinations of Climactic and Episodic Construction D. Other Forms of Dramatic Structure a. Ritual as Structure b. Patterns as Structure c. Cyclical Structure d. Serial Structure e. Avant-Garde and Experimental Structures f. Segments and Tableaux as Structure VII. Creating Dramatic Characters A. Types of Dramatic Characters a. Extraordinary Characters b. Representative or Quintessential Characters c. Stock Characters d. Minor Characters e. Narrator or Chorus f. Nonhuman Characters B. Juxtaposition of Characters Features: In Focus: The Playwright’s Role In Focus: Writers In Focus: The Asian Influence on the Playwrights Brecht and Wilder Playing Your Part: Experiencing Theatre Playing Your Part: Thinking About Theatre Terms plot action conflict obstacle complication crisis climax climactic structure episodic structure exposition deus ex machina subplot ritual dialogue representative characters stock character commedia dell’arte dominant trait minor characters chorus protagonist antagonist Topics for Discussion 1. As noted in an earlier chapter, all forms of narrative originated in theatre. What might be the dramatic structure of Lord of the Rings, Groundhog Day, Edge of Tomorrow, 12 Years a Slave, or Momento? What characteristics can you identify that would help you place them in a particular dramatic structure category? Dramatic Structure of Films: • Lord of the Rings: Follows a climactic structure, with a central conflict (destroying the One Ring) that builds to a final showdown. The journey introduces multiple subplots but leads to a final resolution. • Groundhog Day: Has a cyclical structure, where the protagonist relives the same day, with repetition creating variations in character growth and conflict resolution. • Edge of Tomorrow: Similar to Groundhog Day, it follows a cyclical structure, but with a sci-fi twist, where death resets the day, allowing the protagonist to grow through repeated experiences until reaching the climactic battle. • 12 Years a Slave: Follows a climactic structure, with increasing tension as the protagonist struggles to regain his freedom, culminating in an emotional and powerful resolution. • Memento: Utilizes a nonlinear structure, where the story unfolds in reverse, creating a puzzle for both the protagonist and the audience as pieces of the plot come together. 2. Examine a contemporary play, movie, or TV show to determine the protagonist and antagonist. Protagonist and Antagonist in a Contemporary Work: • In Breaking Bad, Walter White is the protagonist, as the story revolves around his transformation and moral decline. The antagonist shifts throughout the series, from Gus Fring to Hank Schrader, and eventually, Walter’s own inner demons. 3. Choose a modern well-made or climactic play (by Ibsen, Miller, or Hansberry, for instance) and draw a chart separating story and plot. Do the same for an episodic play (by Shakespeare or Brecht, for instance). Story vs. Plot in Plays: • Climactic Play (Ibsen’s "A Doll’s House"): • Story: Nora’s journey from a subservient wife to an independent woman. • Plot: The events leading to her realization and eventual decision to leave her family. • Episodic Play (Shakespeare’s "Hamlet"): • Story: Hamlet's quest to avenge his father's murder. • Plot: The individual episodes, including Hamlet’s interactions with the ghost, the play-within-a-play, and the climactic duel, unfold over time. 4. Using a historical incident, suggest episodic and climactic plays that might be derived from the events. For instance, a playwright who wanted to write a climactic play based on the life of John F. Kennedy might focus on the Cuban missile crisis, and the way that the subject was treated would be influenced by the structure. What other parts of Kennedy’s life might the playwright choose? If he or she wanted to write an episodic play of the same incident, how would it change? What could be shown more easily in an episodic structure? In a climactic structure? Historical Incident: John F. Kennedy’s Life: • Climactic Play: Focus on the Cuban Missile Crisis, building to a tense, focused resolution where decisions have immediate and massive consequences. • Episodic Play: A broader focus on Kennedy’s presidency, showing key moments like the Bay of Pigs, space race, and civil rights movement. The episodic structure would explore multiple themes rather than just a singular crisis. 5. Identify and discuss ways in which television dramas utilize the deus ex machina dramatic device to wrap up a story. Deus Ex Machina in TV Dramas: • Shows like Grey’s Anatomy sometimes use deus ex machina when an unexpected medical solution or last-minute revelation miraculously resolves a life-threatening situation. This device can feel contrived when it suddenly removes obstacles without earlier narrative groundwork. 6. Extraordinary characters are increasingly prevalent in today’s films. Discuss such characters. In what type of films do they most often appear? How can we, as normal people, relate to such characters? Extraordinary Characters in Films: • Characters like superheroes in Avengers or neo-human figures in The Matrix are extraordinary because of their powers or skills. While their experiences are extreme, audiences can relate to their emotional struggles, ethical dilemmas, and personal growth, which reflect universal human experiences. 7. What kinds of stock characters do we find in modern theatre, movies, or television (for instance, in the western, the soap opera, and the detective story)? Stock Characters in Modern Media: • Westerns: The loner hero (e.g., Clint Eastwood’s characters) and the outlaw villain. • Soap operas: The scheming villain, the tragic hero, and the innocent victim. • Detective stories: The hard-boiled detective (e.g., Sherlock Holmes) and the criminal mastermind. 8. Why might nonhuman characters, such as animals, be effective for certain plays? What sorts of personalities are typified by certain animals? Discuss these answers in terms of fairy tales, for instance, or Walt Disney or Pixar animation. Effectiveness of Nonhuman Characters: • Nonhuman characters, like talking animals in Lion King or Finding Nemo, can symbolize human traits in a relatable and universal way. Animals are often typified by certain personalities, such as foxes representing cunning, or lions representing strength and leadership. These characters are particularly effective in fairy tales and animated films, as they engage the audience’s imagination and convey moral lessons. Exercises and Demonstrations 1. Choose a favorite film. Then identify each of the opening scenes, the obstacles and complications, and crises and climaxes. Choose a favorite film: Let’s take The Dark Knight (2008) as an example. • Opening scenes: The film opens with a tense, orchestrated bank heist conducted by the Joker’s crew. Each criminal is assigned a task but unknowingly kills off another member after completing their part, until only the Joker remains, revealing his chaotic nature. • Obstacles and complications: Batman faces various obstacles, such as the Joker's terrorizing schemes throughout Gotham, Harvey Dent’s transformation into Two-Face, and moral dilemmas like whether to reveal his identity or save others. • Crises and climaxes: The film’s climax comes with the Joker’s final plan: two boats (one with civilians, the other with prisoners) are rigged to explode, and each must decide whether to blow up the other to save themselves. Meanwhile, Batman faces the crisis of confronting Two-Face, who is out for revenge. The resolution comes with Batman saving Gordon’s family and taking the fall for Two-Face’s crimes. 2. Choose a film based on a DC, Marvel, or Image comic book. Or perhaps, draw from the Harry Potter books or films. If you are reading a play in class you may wish to use that text as your source. Now, create a power point detailing the dramatic characters. Which characters are extraordinary, representative or quintessential in nature? Which characters feel like they are stock characters. Are there minor characters and what purpose do they serve? Is there a narrator or chorus? Are there any nonhuman characters? Choose a film based on a DC, Marvel, or Image comic book: Let’s continue with The Dark Knight: • Dramatic characters: • Extraordinary characters: Batman and the Joker represent extraordinary figures, larger-than-life in their actions and influence over Gotham. • Representative or quintessential characters: Harvey Dent is quintessential, embodying justice and then becoming a symbol of corruption and duality as Two-Face. • Stock characters: Some of the minor gang members and corrupt officials are stock characters, playing typical roles of villainy without deeper characterization. • Minor characters: Characters like Rachel Dawes and Commissioner Gordon serve key purposes—Rachel represents Bruce’s emotional vulnerability, while Gordon is an ally in law enforcement. • Nonhuman characters: While no overtly nonhuman characters exist, Batman’s gadgets, the Batmobile, and the Bat-Signal can almost function as characters due to their narrative importance. • Narrator/chorus: There isn’t a direct narrator, but some exposition is given through newscasts and media reports. 3. Separate the class into small groups, and then divide each group into two sections. Give each group a basic situation (“Joe wants to go to a baseball game.”). In each group, section 1 is responsible for creating obstacles to the attainment of the desired goal; section 2 is responsible for thinking up ways of overcoming those obstacles. (E.g., section 1: “The game is sold out.” Section 2: “Joe decides to buy a ticket from a scalper.”) They should continue to alternate, creating obstacles and solutions, until a climax is reached. Somebody in the group should keep track of the twists and turns of the plot and present them to the class. Does this technique create a story? Group activity: • Scenario: Joe wants to go to a baseball game. • Section 1: Obstacles: The game is sold out. • Section 2: Solution: Joe decides to buy a ticket from a scalper. • Section 1: Obstacle: The scalper charges an excessive price. • Section 2: Solution: Joe decides to find someone who can’t attend and is willing to sell their ticket online. • Section 1: Obstacle: The online seller's ticket was a scam. • Section 2: Solution: Joe contacts a friend who works at the stadium and gets a pass. • This process of creating obstacles and solutions builds dramatic tension and eventually leads to a climax. This technique can indeed create a dynamic, engaging story. 4. Placing students in groups of three or four, provide to them the lyrics to a popular song (there are many online sites that provide lyrics). Have each group create strongly opposed forces that are suggested in the song. Are the forces balanced? What is the incentive of each of the characters? How has the work of each group differed to other groups in the class? Song lyrics activity: • Example song: "Lose Yourself" by Eminem. • Opposing forces: The protagonist’s desire to seize an opportunity (success) vs. the fear of failure and self-doubt. The forces are balanced, with equal weight given to the protagonist’s ambition and his internal struggles. • Incentives: The character is motivated by a desire for success and redemption but is held back by fear and pressure. • Group differences: One group might focus on the struggle with external factors (competition, societal pressure), while another might focus on internal forces like self-doubt and fear. Each group’s interpretation could shift the tone and emphasis of the conflict in the song. This activity sparks creative thinking about character motivations and how conflicts drive narratives. 5. To demonstrate obstacles and complications, show the class a clip from a popular film (go to Movieclips.com for film clips). Use the climactic scene when Marty McFly returns Back to the Future, or perhaps the scene in Field of Dreams when Ray Kinsella meets Terence Mann, and count how many complications there are between achievement of action and defeat? Choose a scene from a play and read it aloud in class. Identify the obstacles and complications. Film Clip Analysis (Obstacles and Complications): Let’s take the climactic scene from Back to the Future when Marty McFly returns to the future: • Obstacles: The clock tower lightning strike needs to be perfectly timed to power the DeLorean. Marty faces numerous complications, such as the DeLorean stalling, the cable being unplugged, and Doc Brown’s frantic struggle to reconnect the wires. • Complications: Every complication heightens the tension: Marty races against time, Doc climbs the tower under dangerous conditions, and both must coordinate their efforts down to the millisecond. • Resolution: Finally, the DeLorean is powered by the lightning bolt, and Marty returns to the future. For a play, you might choose a scene from "Romeo and Juliet"—for example, the confrontation between Romeo and Tybalt in Act 3. The obstacles involve both personal grudges and societal rules (the Montague vs. Capulet feud), escalating into Romeo’s unintended killing of Tybalt and his subsequent banishment. Reading the scene aloud reveals how these complications build emotional tension and drive the tragic turn of events. 6. Look at the cast of characters in a Shakespearean play you have seen or read. Place each character in a category: major character; minor character; or a character in between—that is, a character with a clear personality but not a large role. Which characters are in opposition to one another? Which characters in the play dominate in the struggle? Is there a reversal of their fortunes? Now, do the same for a blockbuster film. Character Analysis in a Shakespearean Play: Consider Macbeth: • Major characters: Macbeth, Lady Macbeth, and the Three Witches. These characters drive the action and influence the key events. • Minor characters: Lennox, Ross, and the other Scottish lords. They serve as messengers or witnesses to major events but do not greatly influence the plot. • Characters in between: Banquo, Macduff, and Duncan. They have distinct personalities and roles, yet their influence is limited to specific parts of the play. • Oppositions: Macbeth vs. Macduff, as well as Macbeth vs. Banquo’s ghost. The witches’ manipulation of Macbeth leads to a reversal of fortunes, with Macbeth’s rise to power ultimately leading to his downfall. For a blockbuster film, take Avengers: Endgame: • Major characters: Tony Stark/Iron Man, Steve Rogers/Captain America, and Thanos. • Minor characters: Valkyrie, Mantis, and Wong. While important, their roles do not influence the primary conflict. • In between: Nebula and Hawkeye. They have key roles in driving parts of the narrative but are not the central focus. • Opposition: The Avengers vs. Thanos. The reversal of fortunes happens when the Avengers retrieve the Infinity Stones and reverse Thanos’ decimation, culminating in Iron Man’s sacrifice. 7. Look at a Laurel and Hardy comedy. Now show a clip or pictures of Abbott and Costello, Bob Denver and Alan Hale, Jr., (from television’s Gilligan’s Island) and Chris Farley and David Spade. Explore why these stock characters persist. Stock Comedy Characters: In analyzing Laurel and Hardy: • Their comedy revolves around a classic "straight man" and "buffoon" dynamic—Hardy being the pompous, exasperated figure and Laurel the clueless but endearing partner. Comparing them with: • Abbott and Costello: They follow a similar dynamic, where Abbott plays the straight man and Costello, the hapless sidekick, leads to chaotic situations. • Bob Denver and Alan Hale, Jr. (Gilligan and the Skipper from Gilligan's Island): The Skipper is often frustrated with Gilligan’s blunders, much like Hardy with Laurel, representing a stock comedic duo of the sensible figure paired with a bumbling one. • Chris Farley and David Spade: In movies like Tommy Boy, Farley takes on the overly enthusiastic, often inept character, while Spade plays the sarcastic, straight-laced sidekick. These stock characters persist because their dynamic is universally relatable. Audiences enjoy seeing the contrast between the sensible and foolish characters, which creates tension and humor. The consistent appeal lies in how these characters can drive comedy through both dialogue and physical humor, crossing generational boundaries. Chapter 4 Theatrical Genres Overview and Outline An essential element of theatre is a dramatic text or script created by a playwright or by someone else functioning as a playwright. An important aspect of a dramatic text is the point of view, which determines genre—a French term for “type” or “category.” The two oldest and best-known theatrical genres are tragedy and comedy. Particular societies as well as individual playwrights are often predisposed to a tragic point of view. For example, two historical periods conducive to tragedy were the fifth century B.C.E. in Greece and the period from the late sixteenth century to the early seventeenth century in the European Renaissance. Comedy may take a variety of forms, including farce, burlesque, satire, domestic comedy, comedy of manners, and comedy of ideas. Although tragedy and comedy are the two fundamental genres, there are other important genres, including heroic drama, melodrama, domestic or bourgeois drama, and tragicomedy. I. What Is Genre? II. Tragedy A. Traditional Tragedy 1. Tragic Heroes and Heroines 2. Tragic Fate 3. Acceptance of Responsibility 4. Tragic Verse 5. The Effect of Tragedy B. Modern Tragedy III. Comedy A. Characteristics of Comedy 1. Suspension of Natural Laws 2. Contrast between Individuals and the Social Order 3. The Comic Premise B. Forms of Comedy Farce Burlesque 3. Satire 4. Domestic Comedy 5. Comedy of Manners 6. Comedy of Ideas IV. Heroic Drama V. Melodrama VI. Domestic Drama VII. Tragicomedy A. Shakespearean Tragicomedy B. Modern Tragicomedy Feature: Conditions for Tragedy: Theatre and Society Terms
burlesque comedies of menace comedy comedy of ideas comedy of manners comic premise conditions or climate for tragedy domestic comedy domestic or bourgeois drama farce genre heroic drama melodrama problem plays satire slapstick theatre of the absurd tragedy tragicomedy
Topics for Discussion 1. Analyze several stories (not necessarily drama) in terms of genre. Many popular entertainments combine the structure of a particular genre with contemporary content. For instance, Star Wars has a form similar to melodrama as described in this chapter. Find other examples that fit into the categories described. Analyze several stories in terms of genre: Many popular entertainments blend classic genre structures with contemporary elements: • Star Wars (Melodrama): Star Wars is structured like a melodrama, with clear moral binaries (good vs. evil), exaggerated characters (the hero, the villain, the wise mentor), and emotional conflicts. Despite its sci-fi setting, the dramatic core is based on human emotions and choices. • The Hunger Games (Dystopian & Tragedy): Though set in a dystopian future, The Hunger Games follows a tragic structure. Katniss Everdeen is thrust into an uncontrollable situation (the oppressive Capitol), and despite her efforts, tragedy strikes when people close to her die or are oppressed. The genre reflects classic tragedy with a modern, political context. • The Fast and the Furious series (Action & Family Drama): While these films are action-packed, they consistently incorporate the theme of family, adding dramatic weight to the genre. The structure of each film revolves around action sequences, but the emotional core ties into the melodramatic element of loyalty, betrayal, and reconciliation. • Black Panther (Superhero & Tragedy): Black Panther fits both the superhero and tragedy genres. While the film has elements of the hero’s journey and epic battles, the central conflict revolves around the tragic downfall of the antagonist, Killmonger, whose complex motivations highlight the tragedy of his life circumstances, blurring the lines between hero and villain. 2. Discuss the modern usage of the word tragedy to mean a terrible event that is usually the result of some uncontrollable factor, such as an airplane crash or an earthquake. How does this usage relate to the meaning of tragedy in the dramatic sense? Does the popular usage undermine the dramatic usage, or support it? Modern vs. dramatic usage of tragedy: In modern language, tragedy often refers to terrible events caused by uncontrollable factors (natural disasters, accidents). This contrasts with the dramatic sense of tragedy, where the downfall of the protagonist (such as in Hamlet or Oedipus Rex) is the result of a combination of personal flaws, moral choices, and inevitable consequences, often evoking pity and fear. • Relation to dramatic tragedy: Modern usage of "tragedy" still involves an element of helplessness, much like how classical tragic heroes cannot escape their fate, even when caused by their flaws. However, the popular usage tends to strip away personal responsibility, focusing more on external factors. • Undermining or supporting the dramatic usage? In some ways, modern usage can undermine the dramatic sense, as it often removes the personal, moral dimensions that define classic tragedy. However, it can also support the idea that tragic outcomes often feel inevitable, even when they stem from different causes. 3. Many theorists have written that comedy is a tool for correcting behavior through ridicule and laughter; i.e., that people will alter the way they act if they see how foolish they are. Discuss contemporary comedy in this context. Does it occasionally serve this purpose? Discuss examples of comedies that do. Comedy as a tool for correcting behavior: Comedy often serves the purpose of critiquing social norms, encouraging self-awareness through laughter: • Satirical comedies: Shows like South Park or The Daily Show point out the absurdities of political or social behavior through exaggeration and ridicule, making people reflect on the ridiculousness of certain norms. • Romantic comedies: In movies like Legally Blonde, humor is used to challenge stereotypes, particularly those surrounding gender roles and intellectual assumptions. The comedy critiques how society underestimates the protagonist, Elle Woods, making the audience reflect on their own biases. • Sitcoms: Shows like The Office or Parks and Recreation often use comedic moments to highlight the foolishness of everyday behavior in the workplace, sometimes promoting reflection on the absurdities of bureaucracy, social hierarchy, or group dynamics. Comedy does occasionally serve the purpose of correcting behavior, though the extent depends on the intent of the creators and how willing the audience is to reflect on their own actions through laughter. 4. It has been said that life is a tragedy to those who feel, and a comedy to those who think. Discuss this idea as it relates to comedy and tragedy. "Life is a tragedy to those who feel, and a comedy to those who think": This phrase suggests that one’s perspective determines whether life is viewed as tragic or comedic: • Comedy and detachment: Comedy often involves intellectual distance from emotional situations, allowing people to laugh at life’s absurdities. The viewer can analyze situations without emotional investment, seeing them as ridiculous or exaggerated, much like in classic comedies where characters’ struggles seem humorous when viewed from a removed perspective. • Tragedy and emotion: Tragedy, on the other hand, invites deep emotional engagement. The audience empathizes with the protagonist’s struggles and feels the weight of their downfall. This emotional connection is what makes tragedies so affecting. In essence, those who reflect on life’s challenges with an intellectual lens might find humor in the chaos, while those who approach life from an emotional stance may experience it as tragedy. For example, Shakespeare’s King Lear can be viewed as tragic due to the intense suffering Lear endures, but also as comic, in the sense that Lear's downfall results from his absurdly misplaced trust and hubris, which some might view as darkly ironic. Similarly, in Seinfeld, everyday frustrations are turned into comedy through intellectual distance from the characters’ plights. 5. The theorist Henri Bergson believed that empathy was the enemy of comedy. Discuss how emotional empathy affects comedy. What would happen if a spectator empathized with the Coyote in the Road Runner cartoons, for example? Henri Bergson and the Role of Empathy in Comedy: Henri Bergson argued that empathy is the enemy of comedy because laughter requires emotional distance from the subject. Comedy thrives when viewers detach from the characters' emotions, allowing them to see situations as absurd or ridiculous rather than tragic or distressing. When spectators become emotionally invested in the characters, they may feel sadness or concern, which can diminish the comedic effect. • Example: The Coyote in the Road Runner cartoons: If viewers empathized deeply with the Coyote, they might not find his constant failures and injuries funny. Instead of laughing, they would feel sorry for him, turning the cartoon’s physical humor into something painful or tragic. The humor of the Coyote’s persistence and exaggerated misfortune depends on the audience's detachment, viewing his endless pursuit as an absurd game rather than an emotionally resonant struggle. Thus, emotional distance is essential for comedy, allowing spectators to laugh at the misfortunes and follies of characters without experiencing personal distress. 6. Discuss whether the students feel that today’s society exhibits the right conditions for traditional tragedy. Why or why not? Society and the Conditions for Traditional Tragedy: Students may have varied opinions on whether today's society exhibits the conditions for traditional tragedy. Here are two perspectives: • Yes, society still exhibits the conditions for tragedy: • Tragedy often arises from individuals' flaws, moral dilemmas, and societal structures, which are still relevant today. Many modern figures in politics, business, or entertainment experience tragic downfalls due to personal failings (e.g., hubris, greed) or being caught in a web of uncontrollable circumstances. • Tragic themes such as betrayal, loss, power struggles, and moral choices continue to resonate in contemporary stories, including films, plays, and literature. • No, society may not fully support traditional tragedy: • Some students may argue that modern society's focus on optimism, self-help, and second chances undercuts the fatalism and irreversible consequences seen in traditional tragedy. In many cases, today's culture promotes redemption and resilience, rather than inevitable downfall. • The speed of social media and information sharing can dilute the depth of tragic narratives, turning complex situations into fleeting public spectacles without the long-lasting impact that traditional tragedy often requires. 7. Discuss why people watch tragedies. Why would people take pleasure in watching the sadness and suffering of another (fictional) person? Why People Watch Tragedies: People watch tragedies for several reasons, despite the sadness and suffering portrayed: • Catharsis (emotional release): Tragedies offer a way for viewers to experience intense emotions (pity, fear, sadness) in a controlled environment, allowing them to release these feelings and reflect on their own experiences. Aristotle believed that tragedy provides catharsis by purging the audience of these emotions, leaving them feeling cleansed. • Empathy and connection: Tragedies allow audiences to connect deeply with characters and their struggles, providing insight into the human condition. Even though the characters are fictional, viewers can relate to their experiences of loss, love, ambition, or betrayal, which makes the emotional journey compelling. • Reflection on life’s complexities: Tragedies explore universal themes, such as fate, free will, and the consequences of moral decisions. Watching tragedies gives people a chance to reflect on the complexities of life and the inevitability of suffering, reminding them of the fragility of human existence. • Appreciation of dramatic art: Many people appreciate the craftsmanship of a well-told tragic story. The emotional depth, powerful performances, and intricate plots found in tragedies can be artistically rewarding for audiences who seek more than surface-level entertainment. Ultimately, people watch tragedies to confront the darker aspects of life, not out of pleasure in suffering itself, but because it offers emotional, intellectual, and artistic fulfillment. The contrast between the heights of human achievement and the depths of human despair is deeply moving and allows audiences to experience profound emotions in a meaningful way. Exercises and Demonstrations 1. Cut out a few particularly interesting stories from a newspaper or magazine (advice columns are especially good for this exercise). Separate the class into groups and give each group one of the clippings. The assignment is to alter the story to fit one of the genres discussed. (It can also be interesting to give the same story to each group and assign different genres.) After the groups have had time to create their stories, ask each group to read or act its version for the class. Genre Alteration Exercise: This exercise allows students to explore how a story can change based on its genre. Here’s how to implement it: • Group Assignment: Each group receives a newspaper or magazine clipping. For example, a real-life story about a couple facing financial troubles could be transformed into various genres: • Romantic Comedy: The couple decides to take on humorous side jobs (like becoming pet sitters) that lead to funny mishaps while rekindling their relationship. • Tragedy: The story depicts the couple's struggle as they succumb to their financial pressures, leading to a heartbreaking separation. • Fantasy: The couple discovers a magical way to solve their financial issues, encountering fantastical creatures and challenges along the way. After groups create their versions, they can perform or read their stories, showcasing how genre shapes narrative and tone. 2. A variation on exercise 1 is to use well-known fairy tales instead of newspaper items. Fairy Tale Variation Exercise: Using well-known fairy tales can yield fascinating results. Assign the same fairy tale to each group and ask them to adapt it into different genres: • Cinderella: • Horror: Cinderella's stepmother is a witch who casts dark spells, leading to a suspenseful and eerie journey. • Sci-Fi: Cinderella uses advanced technology to escape her mundane life, leading to a futuristic ball with robotic suitors. • Comedy: Cinderella's fairy godmother is bumbling and misplaces her magic wand, leading to a series of comedic events before the ball. This helps students see how familiar stories can take on new life in different contexts. 3. Read or watch Arthur Miller’s Death of a Salesman, and read Miller’s essay, “Tragedy and the Common Man.” Do the students believe that Willy Loman is a tragic hero, as Miller says he is? Why or why not? Willy Loman as a Tragic Hero: After reading Arthur Miller’s Death of a Salesman and his essay “Tragedy and the Common Man,” students can discuss whether they believe Willy Loman fits the definition of a tragic hero: • Arguments for Willy as a tragic hero: • Willy embodies the struggle of the common man, fighting against societal expectations and his own delusions of success. • His tragic flaw (hubris) leads to his downfall, as he cannot accept reality and relentlessly pursues an unattainable dream. • The emotional weight of his struggles resonates with the audience, creating sympathy for his character. • Arguments against: • Some might argue that Willy lacks the noble qualities typically associated with traditional tragic heroes. • His failures may seem less grand or meaningful compared to classic tragic figures like Macbeth or Oedipus, making it difficult for some to view him as tragic. This discussion encourages students to consider what constitutes tragedy and how it can manifest in everyday life. 4. Make a list of institutions that usually are respected in our society. Create a character or situation that would lead to comedy within that institution. You might use the concept of the comic premise as a starting point. Comic Situations in Respected Institutions: Students can brainstorm respected institutions and then create comedic scenarios within them. For example: • Education: A teacher who is overly strict accidentally grades a pop quiz in crayon, leading to hilariously misguided feedback. • Healthcare: A doctor misreads a patient’s chart, prescribing a "magical" remedy that causes unexpected (and funny) side effects. • Government: A city council meeting turns chaotic when a new, overly enthusiastic intern misinterprets a simple budget report, proposing absurd community projects. These scenarios allow students to explore how humor can emerge from serious settings and highlight the absurdities within respected institutions. 5. Refer to the discussion in Chapter 3 of different types of characters. Which types of characters seem most suited for the different genres? Character Types and Genre Suitability: Different character types work well in various genres. Here are some examples: • Tragic Heroes: Often flawed but relatable, tragic heroes like Willy Loman or Hamlet are suited for drama and tragedy, as their deep emotional struggles create empathy. • Comic Relief Characters: Typically exaggerated or silly characters (like the fool or the sidekick) are perfect for comedy, providing levity amidst more serious characters. • Archetypal Characters: Characters such as the hero, villain, and mentor are suited for adventure and fantasy genres, helping to drive traditional plot structures. • Antiheroes: Characters like Walter White from Breaking Bad fit well in drama and crime genres, challenging moral norms and evoking mixed feelings in the audience. By analyzing character types in relation to genre, students can better understand how storytelling conventions shape narratives and audience experiences. Solution Manual for Theatre: The Lively Art Edwin Wilson, Alvin Goldfarb 9780073514307