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| Life as it should be, through a rose-colored class--art |
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| truth in terms of infinity and existence; man's experience is a duality of: physical&spiritual |
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| Freedom and imagination is key. Art allows for abstract freedom to escape the physical and enter the metaphysical |
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| Life as it is, without the rose-colored glass--sciences |
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| Truth in terms of "objectivity"-the physical; what you can touch taste, smell, hear |
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| revolts against revolt and wants to be what should be |
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| Life and man are dynamic and life is change, man is subject to the physical laws of nature, |
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| Life as it is, but should not be; through a magnifying glass/microscope |
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| Subconscious is the key to "truth"; truth is internal and subjective |
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| incongruous, illogical, out of harmony, disorganized; lack of unity, logical progression,existential plot |
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| man will die; existence will have meant nothing, God is dead or dying, life and world devoid of purpose |
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| ultimate revolt agasint the ultimate creation of theater; revolt against traditional everything |
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| Foundations of expressionism |
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| increased emphasis on thought, combination of presentational and representational |
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| the attempt of individuals to recreate life in one form or another to tell us the truth about our existence |
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| neo-classic: noted for its strict adherence to the rules of dramatic writing and its emphasis on morality and decorum |
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| communal celebrations in ancient Greece held in honor of the god Dionysus; a three-day theatrical competition was a central event here |
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| the dramatic genre characterized by an emphasis on plot over characterization; typically, characters are defined as heros or villains, conflicts are defined alont moral lines, and the resolution rewards the good and punishes the wicked. Spectacle and action are important for the effect. |
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| a drama in which a carefully constructed plot is designed to create suspense and forward movement, often at the expense of characterization. Such plays frequently imploy a witheld secret, confrontations between heroes and villains, a series of minor crises building to the climax and resolution in which all the conflicts are neatly worked out. Oedipus the King is a prototype of this. |
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| a theater convention in which a character speaks his or her thoughts aloud to the audience; it is particularly associated with Elizabethan drama |
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| small, close together, tiny, soft, gathering. Much like realism. Actors could sit and talk in natural tones, smaller audiences and the first was in Stockholme. |
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| "non-traditional" western philosophic thought; essence precedes existence and there is no real reason for our being. |
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| Loss of VEMS, The foundation of the theater of the absurd; engaging most of the entire western world and some nations are hesitant to participate, new firearm, etc. |
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| A group of radical thinkers and writers in France in the eighteenth century, including Voltaire and Jean-Jacques Rousseau. They stressed the use of human reason and were especially critical of established religious and political practices in France. |
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| "non realistic" with little attempt to disguise performance, no illusion of "4th wall," audience is openly acknowledged |
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| "realistic", this action represents life, illusion of reality, illusion of "the 4th wall", audience not openly acknowledged and few conventions |
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| traditional thought, there is reason for "being" and something more to believe in |
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| Personification of the romantic ideal: Romantic hero on a quest; rebellion against the world because of a desire to live on his own terms, empathetic to the neo-classic doctrine |
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| everything he does is big and showy and takes boldness and bravery, a truly theatrical heroic gesture |
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| Temptation and desctruction of Loevborg; brilliant when sober, mess when on the bottle. Struggle for control of Loevborg. Burning of manuscript. Idea is mythological, "Woman as destructive force" |
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| George seems to be a nerd who will never get anything for himself in life, but we are tricked into thinking that when he ends up being very successful in his job and gets the woman of his dreams |
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| expressionistic and realistic; |
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| he lies to hide from the reality of his unsuccessful life |
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| Who's Afraid of Virginia Woolf |
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| Melodrama or Tragedy, some say absurdist and some say realism, and some say all, very unstructured and untraditional; devastating depiction of psychological exorcism. |
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| Games of life, named games: Humiliate the Host, Get the guests, The game of life; |
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| Right You Are...If You Think You Are |
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| Luigi Pirandello's play. Perception became reality, and this concept was captured in this play. People were free to define "reality" according to her or his perceptions of the truth behind the language. |
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| Tragicomedy; epitome of the theater of the absurd; portrays humanity's fruitless search for someone or something that gives meaning to life, bridge the gap between human hopes and futility, archetypal characters |
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| Writer of "Who's Afraid of VA Woolf?", was adopted and wrote crazy plays, wasn't that successful after VA because he set such a high standard that nothing could live up to it |
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| Wrote Godot; wouldn't tell people what "Godot" meant, and in the spirit of the absurdist movement, he forces audiences to assign meaning to the play, if there is indeed meaning. |
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| called the father of sociology and defined "the science of society." Employed the methodology of the hard sciences to social problems; artists saw the theater as a "bell jar" and the precise conditions of a social problem were re created and were observed with detachment and rationality of a lab scientist as the problem was dissected and a cure was suggested. |
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| 1859: The Origin of Species; questioning the basic beliefs |
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| 1900: The Interpretation of Dreams; 1905: Three Contributions to Theory of sex; The idea of the subconscious |
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| the phenominal success of his play Hernani released the neoclassic stranglehold on European drama and promoted experimentation with form and content |
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| writer of Hedda Gabler, trick plays, |
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| Historian economist; 1859: A Contribution to the Critique on Political Economy, The Capital; there is a constant revolution |
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| God is dead; nobody is out there to catch him if he makes the leap of faith |
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| playwright of Cyrano de Bergerac |
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| Existence precedes essence. |
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| If you understand it, it is not God |
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| wrote "A Dream Play": he has sought to reproduce the disconnected but apparently logical form of a dream. Anything can happen; everything is possible, time and space do not exist |
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