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Books on the topic 'Theatrical realism'
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1
Storer, Inez. Theatrical realism: The art of Inez Storer. Santa Clara, Calif: De Saisset Museum, 2003.
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2
The Actors Studio and Hollywood in the 1950s: A History of Theatrical Realism. Edwin Mellen Pr, 2007.
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3
Storer, Inez. Theatrical Realism: The Art of Inez Storer: De Saisset Museum, Santa Clara University, September 27-December 7, 2003. de Saisset Museum Santa Clara University, 2003.
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4
Barker, Roberta. ‘Deared by Being Lacked’. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.5.
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Though it has been much criticized by theatre artists and scholars, the legacy of theatrical realism and naturalism continues to shape contemporary Shakespearean performance. If realist and naturalist approaches to acting fail to encompass the full power of the Shakespearean play-text—or to remedy its more problematic aspects—is this failure necessarily unproductive? Considering this question in relation to the play-text of Antony and Cleopatra and a few of its recent theatrical incarnations, this chapter argues that the lacks, omissions, and failures of realist and naturalist modes of performance can provoke spectators to engage anew with Shakespeare’s lovers and their potential significance for contemporary Western audiences. Acknowledgement of the persistence and value of such traditional modes can add to the complexity of audience reception studies of Shakespeare..
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Taylor, Millie. Lionel Bart. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.20.
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Lionel Bart created musical theatre works from a uniquely British working-class perspective. Rather than having an academic training he relied on instincts developed from a working-class East End Jewish upbringing, the London pop music industry, and his early theatrical experiences at Unity and Theatre Workshop. From these diverse influences he produced what is arguably one of the best-loved British musicals of all time, Oliver! Subsequently, Blitz! and Maggie May also achieved commercial and critical success in Britain, but did not transfer to Broadway. Building on his background and theatrical context, Bart spoke in a vernacular musical and lyrical language that retained a gritty urban realism and a left-wing political ideology. Although the small number of his works that are regularly revived demonstrates that he wrote of and for his time, his influence and that of his collaborator, set designer Sean Kenny, has been pervasive and profound.
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David, Deirdre. Pamela Hansford Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198729617.001.0001.
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This literary biography traces the life of Pamela Hansford Johnson from her birth in a theatrical family to her death as the widow of C.P. Snow. A prolific writer, she published almost thirty novels, reviewed fiction for major newspapers, and made regular appearances on BBC cultural programmes. She lived through tumultuous changes in British life—1930s political unrest, World War 2, and postwar austerity: social changes that form the background for her fiction. Persuaded by her first love, Dylan Thomas, to abandon writing poetry for writing fiction about her life in South London, she devoted herself to restoring the traditions of social and psychological realism in the English novel at a time when the modernist experimentation of Woolf and Joyce prevailed. Hers was a courageous writing life.
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Reynolds, Paige. Design and Direction to 1960. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.14.
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Early Abbey staging and design was extremely simple, partly enforced by the limitations of their resources. Yeats’s ambitious experiments with the screens of Gordon Craig came to nothing. Initially, the Gate Theatre was established self-consciously as a theatrical alternative to the Abbey, open to European aesthetics, and concentrated on stage production and design, ideas articulated and exemplified by Micheál Mac Liammóir and Hilton Edwards in their design and direction work. However, the chapter argues that this conventional narrative overlooks the design work of Tanya Moiseiwitsch at the Abbey Theatre in the 1930s, which showed a strong influence of expressionism. When the view of Irish theatre is further broadened to include pageants and public performances which are also a feature of mid-century, it becomes clear that Irish theatre of the time was far from being an unrelieved vista of peasant realism.
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Lewis, Hannah. “An achievement that reflects its native soil”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0004.
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The third chapter focuses on several French-language musical films, known as opérettes filmées (filmed operettas), that were produced by American and German companies and intended for French audiences. Because French production was slow to adopt sound film technology, many French personnel (directors, composers, and actors) worked on their first sound films through these international contexts. The films analyzed in this chapter—Chacun sa chance, Le Chemin du paradis, and Il est charmant—drew influence from a range of stage genres from different national traditions, and attempted to negotiate theatrical and cinematic aesthetics. Furthermore, in the opérettes filmées, filmmakers attempted to bring an element of fantasy back to cinema that many feared the realism of spoken dialogue had displaced. This chapter reveals how the genre made an important contribution to a broader critical acceptance of sound film in France.
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Levitas, Ben. The Abbey and the Idea of a Theatre. Edited by Nicholas Grene and Chris Morash. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198706137.013.4.
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The Irish national theatre movement developed in the ferment of cultural nationalism at the turn of the century, but it was not at all clear what form a national theatre should take: an Ibsenian model of critical realism, favoured by Edward Martyn, George Moore, and John Eglinton, the mythological poetic drama of Yeats, or the peasant plays that came to be written by Yeats and Gregory. Apart from the playwrights, the company of actors formed around the Fay brothers, nationalist groups such as Maud Gonne’s Inghinidhe na hEireann, and the Abbey’s English patron Annie Horniman all had ideas of their own. This chapter analyses the national and theatrical politics of the period up to the death of Synge in 1909, paying particular attention to the ways in which debates of the period centred around the idea of an Irish theatre in ways that were to influence future generations.
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Escolme, Bridget. Tragedy in Twentieth and Twenty-first Century Theatre Production. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.33.
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This chapter discusses the relationship between actor and scenography in twentieth and twenty-first century productions of Hamlet and King Lear, particularly the common theatrical trope of realist acting on abstract stage sets. It argues that whilst in some productions the notion of tragic hero as common man reduces the plays to a set of psychological problems, in others, contrasts and tensions between acting style and scenography or theatre architecture have created what the author calls a ‘politics of intimacy’. These productions have made it possible for detailed, realist acting on non-naturalistic stage sets to pose potent questions about the social and political meanings of human relations in the plays. They have allowed for an audience experience that involves both psychological intimacy and ideological critique.
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Solomon, William. The Politics and Poetics of Attraction II. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0004.
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This chapter continues the conceptual thread of “attraction” while exploring the film oeuvre of the “third genius” of silent screen comedy: Harold Lloyd. This time it is the manifesto-like claims of Eisenstein's theatrical collaborator, Sergei Tretyakov, that provide the theoretical point of departure. The chapter argues that Lloyd, together with his producer Hal Roach, grasped the virtues of athletic performances on screen as a means of helping to train the masses somatically, in order to handle the demands of life in threatening urban settings. The status of the image here is not that of a copy of a preexisting reality. Rather, it was designed to play a formative role in the life of the spectator.
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Fishbane, Eitan P. The Art of Mystical Narrative. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199948635.001.0001.
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This book studies the Zohar as a work of literature. While the Zohar has long been recognized as a signal achievement of mystical theology, myth, and exegesis, this monograph presents a poetics of zoharic narrative, a morphology of mystical storytelling. Topics examined include mysticism and literature; fiction and pseudepigraphy; diaspora and exile; dramatic monologue and the representation of emotion; voice, gesture, and the theatrics of the zoharic tale; the wandering quest for wisdom; anagnorisis and the poetics of recognition; encounters with the natural world as stimuli for mystical creativity; the dynamic relationship between narrative and exegesis; magical realism and the fantastic in the representation of experience and Being; narrative ethics and the exemplum of virtuous piety in the Zohar; the place of the zoharic frame-tale in the comparative context of medieval Iberian literature, both Jewish and non-Jewish.
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Henke, Robert. Poor. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.24.
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This chapter examines how the experience of poverty followed players wherever they travelled, furnishing the European theatre with some of its most popular tropes while at the same time persisting as a raw, brute reality throughout all of its formal translations and displacements. The chapter sets the drama of England, France, Italy, and Spain against the backdrop of the new modes of capitalist accumulation that were beginning to transform European society, including the commercial theatre itself, in order to demonstrate the omnipresence of poverty as theatrical energy in early modern theatre in the form of hunger, physical degradation, begging, charity, and economically induced crime. It shows how poverty functioned as a fertile source for actor’s gags and authors’ conceits and considers the different ways in which the themes and energies of poverty are staged in plays and performance, namely: marginalization, fictionalization, carnivalization, criminalization, repression, and vestigial presence.
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Sisman, Elaine. Symphonies and the Public Display of Topics. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.004.
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To the multiple audiences for whom Haydn, Mozart, Beethoven, and their contemporaries composed—patrons, publishers, players, and an expanding universe of listeners at different levels of knowledge—symphonies were the ubiquitous markers of public musical life in the later eighteenth century, opening and sometimes closing concerts and theatrical events. To heighten their appeal and intelligibility, classical composers found topics for their symphonies in the expressive worlds of opera and theater, as well as in the realms of human activity in nature, at court, or (less often) in the church. In so doing, they heightened their listeners’ range of musical experiences and the possibility of shared interpretations. Rereading contemporaneous opinion to find surprising topical correlations, this chapter develops an understanding of symphonic topics that draws both on referential musical styles and on the textures and colors of the orchestra itself.
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Juergensmeyer, Mark. Religious Terrorism as Performance Violence. Edited by Michael Jerryson, Mark Juergensmeyer, and Margo Kitts. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199759996.013.0017.
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This chapter describes religious terrorism as “performance violence,” illustrating that performance violence is planned in order to obtain tangible goals, and also to theatrically enact and communicate an imagined reality. The scenario that underlies the performance of religious terrorism is often one of cosmic war. Some religious terrorism could also be motivated by scenarios other than cosmic war. The idea of warfare involves more than an attitude; it is ultimately a world view and an assertion of power. An act of violence sends two messages at the same time: a broad message aimed at the general public and a specific communication targeted at a narrower audience. Silent terrors are those in which the audience is not directly evident. It is noted that terrorism has been conducted for a television audience around the world.
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Kendrick, Robert L. Fruits of the Cross. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520297579.001.0001.
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This study of some sixty-odd Italian-language music-theater pieces for Holy Week in seventeenth-century Vienna addresses the issues of Habsburg dynastic piety, memory and commemoration, Passion devotion, and political meaning in the works. It further considers some surprising conjunctions of poetic conceptualism in connection with surprising—and theatrical—musical techniques. The pieces were meant to be performed in front of a constructed replica of Christ’s tomb—hence their Italian sobriquet, sepolcri—and often with an additional stage-set. Flourishing during the reign of Emperor Leopold I (1657–1705), the genre was also indebted to the patronage and piety of the women around him, including his stepmother, the Dowager Empress Eleonora, his three wives, and several of his daughters. The libretti, many by the famed Nicolo Minato, show unusual textual strategies in the recollection of Christ’s Passion, as they are imagined to take place after his burial. But they also involve wider realms of the dynastic’s self-image, material possessions, and political ideology. Although both the texts and the music—the latter by a variety of composers, most notably Giovanni Felice Sances and Antonio Draghi, along with Leopold himself—are little studied today, they also combined in performance to provide a sonic enactment of mourning according to the most recent norms of Italian musical dramaturgy.
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Stohr, Karen. Minding the Gap. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190867522.001.0001.
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The book is a philosophical exploration of the gap between our moral ideals and the imperfect moral reality in which we live, and the implications of that gap for the practical project of moral improvement. We are limited in our ability to recognize and be guided by moral ideals, owing to a variety of moral and epistemic shortcomings. In light of that, how can the practical project of moral improvement get off the ground? An account of moral improvement should begin from psychologically plausible starting points, and it should also rely on ideals that are both normatively authoritative and regulatively efficacious for the agent taking up the project. The book argues that moral improvement should be understood as the project of articulating and inhabiting an aspirational moral identity. That identity is cultivated through existing practical identities and standpoints, which are fundamentally social and which generate practical conflicts about how to live. The success of moral improvement depends on its taking place within what the book describes as good moral neighborhoods. Moral neighborhoods are collaborative normative spaces, constructed from networks of social practices and conventions, in which we can act as better versions of ourselves. The book draws on theatrical metaphors to describe how moral neighborhoods are created and maintained through moral stagecraft and mutual pretense. It concludes with a discussion of three social practices that contribute to good moral neighborhoods and so to moral improvement.
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Weisband, Edward. The Macabresque. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677886.001.0001.
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This book provides an original interpretation of the emotional psychology and disordered will of perpetrators during episodes of genocide and mass atrocity that have taken place throughout the twentieth century. It focuses on the persistence of staged human violation and lurid degradation as a prelude to the death of victims, who are forced to act out the diabolical fantasies of perpetrators. Explanations of ludic dying derive from a cultural, psychological, and psychosocial examination of the macabresque, the theatrical realm of depraved inhumanity that, as this study shows, invite perpetrators to release demonic drives in satanic desire for sadistic cruelty during genocide and mass atrocity. More broadly this applies during national conflicts involving ideological politics of hate and enemy-making. The macabresque is ever present in genocide and mass atrocity across time, place, and episode. Beyond the horrors of lethality, it is the defining feature of concentration camps and death camps, detention centers, prisons, ghettos, killing fields, and the houses, places of worship, schools, and hospitals converted into hubs for torture and torment. Victims, once trapped, are forced to act out the diabolical fantasies of perpetrators. They undergo crazed but systematic torture, the hellish torments of mutilation and dismemberment, and unspeakable agonies of humiliation and sexual violation. But dramaturgical styles of cruelty vary. Contrasts of performative transgression reveal contrasts in social values, and how cultural assumptions and attitudes influence patterns of degeneracy and defilement in the macabresque.