Finals, Monologues and Group Scenes

The students voted for the kind of final they will have. Some want a written exam, others prefer a monologue and some groups want to work together on performing a scene from a play. Although these format will be more difficult for us to organize, it is fair for students to choose how they will be examined. The three forms bring a variety to the assessment process that is in tune with the different ways the students learn.

American Theater: Early to Modern Times

Vaudeville

The Encyclopedia of Vaudeville: An Appreciation (Google Book)

Slide, Anthony. The Encyclopedia of Vaudeville. Univ. Press of Mississippi, 2012

What is Vaudeville? (Video)

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Burlesque

This Was Burlesque (Google Book)

DiMona, Joseph and Ann Corio.  This Was Burlesque. Open Road Media, 2014

Burlesque: A Brief History and Its Resurgence (Video)

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Minstrel Shows

Gentlemen, be Seated (Google Book) p.5

Bauch, Marc. "Gentlemen, be Seated!": The Rise and the Fall of the Minstrel Show. GRIN Verlag, 2011 

A Brief History of Blackface and Minstrelsy (Video)

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Wild West Shows

Wild West Shows: Buffalo Bill Center of the West (Website)

The Real Wild West - Episode 4: Buffalo Bill (History Documentary) 46:00

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American Modern Theater

----    Students were introduced to the origin of American modern theater. Then, the focus went to four cultural vectors that were crucial to the development of vernacular political theater in the United States. They were:

•The renaissance of a vernacular cultural nationalism

•The lack of a transformative historical avant-garde

•The intrinsic commercialism of American theatre

•The spread of consumer culture and the concomitant ascent of middlebrow aesthetics”

•Post war response to consensus culture, adjusting and adapting in order to remain relevant to that consensus.

Saal, Ilka. New Deal Theater: The Vernacular Tradition in American Political Theater. New York: Palgrave Macmillan, 2007

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Acting Technique

         Constantin Stanislavski's Method was adopted by professional actors making a switch from acting that was intuitive to acting that was trained and professionalized through a number of acting techniques. Constatin Stanislavski is considered the father of modern acting and every acting technique created in the modern era was influenced by him. For young actors, understanding of Stanislavski’s seven questions is an invaluable foundation upon which to build a character. The following questions appear in the New York Film Academy website.

1. Who am I?

Start with the basics and then fill in the gaps with your imagination. Pick apart the script to find out what type of person your character is; what they look like, what they believe, how others describe them and so on. Think about your character’s past and the significant events/people that influenced them and made them who they are in the script.

2. Where am I?

The script will usually tell you where you are but the important thing for an actor is to consider how the character feels about the place they are in. Characters act differently in public than they do in private. People move differently when they are cold vs. when they are too hot. The space your character occupies can determine how they behave during a scene.

3. What time is it?

Year, season, month, day, and time of day should all be described. Then, think about how the specific time of the play changes the character’s action. If it’s set in Victorian England, voice and proper etiquette will be different than San Francisco in the 1960s.

4. What do I want?

This is a character’s primary motivation for everything they do in a scene. All actions should be executed with the goal of getting what you want from the other characters in the scene. This is also called a character’s objective.

5. Why do I want it?

There must be a driving force behind your objectives on stage and on screen and that is your justification. We all having reasons for doing what we do and characters are no different. Give your character a convincing reason for acting and you automatically generate high stakes which leads to tension.

6. How will I get what I want?

Use your dialogue, movements, and gestures to try to influence the other characters to give you what you want i.e. accomplish your objective. This is also called a character’s tactic. If one tactic fails, try a new one and see if that works.

7. What must I overcome to get what I want?

There is always something stopping you from achieving your objective. Usually, there is someone or something in the outside world impeding a character’s advancement and also some internal conflict with which they struggle. Find what it/they are and fight against them with the scene. This is also called a character’s obstacle.

These seven simple questions can provide hours of work for an actor to answer fully. The flip side is that an actor who puts in the time and energy will inevitably have a greater understanding of their character and their personal acting technique. Take them, learn them, and think about them. That is why Stanislavski asked them.

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The following plays are representative of the postwar period:

ElmsDesire under the Elms (pdf)

Death of a Salesman (pdf)

A Streetcar Named Desire (pdf)

Zoot Suite (pdf)

Ma Rainey's Black Bottom (pdf)

Six Degrees of Separation

The America Play

Western Opera: Sung Stories of Love and Passion

TURANDOT https://www.sunny.org/listings/florida-grand-opera/2114/

Students were introduced to Western Opera, its origin and developmental stages: Baroque, Classical, Romantic and 20th century.

Baroque

Italian opera that would dominate what is now known as the Baroque period spanning from around 1600 to the 1740s. This form of opera came to the fore in wealthy courts across Europe, royalty frequently patrons of composers, but it rapidly became an art form that appealed to all classes, George Friedrich Handel’s work, for example, wildly popular in England. 

Some of the major opera composers of this period were Antonio Vivaldi, Handel and Jean-Baptiste Lully.

Classical

In the mid 1700s Willibald Christoph Gluck took opera in new directions, expanding the structure, harmony and narratives away from the highly formalised forms that had dominated the previous 150 years. He made the orchestra more integral by developing “recitativo accompagnato”, recitative supported by full orchestra rather than just continuo. Opera became steadily more international and varied in style, Italian opera seria mixing with French opera comique and German singspiel amongst many other operatic genres.

Romantic

Romantic opera has dominated operatic stages for the better part of two centuries. Emerging around the turn of the 19th century, Romanticism was the predominant artistic and literary movement until the 1st World War. As a movement it isn’t easily defined but it was born out of the French Revolution and Germany’s Sturm und Drang playing heavily towards strong emotions and a rebellion against the scientific conformity of the enlightenment and latterly the industrial revolution. Opera became steadily bigger and more dramatic, vast choruses and a swelled orchestra, to upwards of 100 players, building towards the immense operatic works of Richard Wagner. 

There are too many composers to mention here but Germany was dominated by Wagner, Italy by first Giuseppe Verdi and then Giacomo Puccini and Russia made its first real operatic impact with initially Mikhail Glinka and then Modest Mussorgsky and Pyotr Tchaikovsky.

XX Century

More or less for the first time in operatic history, the 20th Century was dominated not by contemporary works but by those of the previous three hundred years. Few were writing new Romantic works but the old ones dominated the modern stage. It hasn’t been all doom and gloom for lovers of new music though, with sophisticated contemporary music making its way onto the operatic stages albeit sporadically and seldom popularly. Composers have become more inventive with the scoring, frequently using fewer orchestral players and creating more intimate dramas relative to the bombast of the Romantic period. 

The first half of the century was dominated by the modernists particularly Arnold Schoenberg and Alban Berg who developed atonal and then twelve-tone techniques (lots of dissonance used to chilling dramatic effect). Benjamin Britten and Dmitri Shostakovich came to the fore through the middle years of the 20th Century, Britten in particular arguably the most successful opera composer born after 1900. Minimalism came in full throttle by the 70s, Philip Glass and most recently John Adams the most successful composers in recent times.

Source:
Opera's History: From Baroque to Present. https://www.theopera101.com/operaabc/history/

HUMOR: Language Specific, Local and Contextual

New Releases

Because students now are familiar with Shakespeare, they can appreciate contemporary humor derived from the intersection of what is currently popular in today's America and Shakespeare's plays. One important example of this type of humor is the work done by The Reduced Shakespeare Company in The Complete Works of William Shakespeare (Abridged)

Shakespeare: Beyond the Stories

Berkeley Shakespeare Program

The students reviewed the plots of the plays discussed in class in order to go beyond the actual story and delve deeper into the context, meaning and relevance of the scenarios presented by English playwright William Shakespeare. 

Main Points Discussed

The Merchant of Venice

The profound antisemitic connotation of The Merchant of Venice is seen in the way Jews are portrait.

Shylock plays the stereotypical greedy Jew, who is spat upon by his Christian enemies, and constantly insulted by them. 

His daughter runs away with a Christian and abandons her Jewish heritage. 

After being outsmarted by the gentiles, Shylock is forced to convert to Christianity— at which point, he simply disappears from the play, never to be heard of again.

Midsummer Night's Dream

A Midsummer Night’s Dream fits into four acts all of the material that would normally occupy a five-act play; the main story, climax, and even a period of falling action are capped by a happy turn of events that would seem to mark the play’s end. 

Shakespeare includes a fifth act. Since he has already resolved the tensions of the main plot, he treats Act V as a joyful comic epilogue. 

Except for a short closing scene, the act is committed wholly to the craftsmen’s performance of Pyramus and Thisbe. 

In wrapping up the conflict before the last act, Shakespeare affords himself the opportunity to give the audience one act of pure, uncomplicated comedy. 

He offers a play-within-a-play whose comical rendition caps the cheerful mood of the Athenians watching the play.

Taming of the Shrew

Disguise in The Taming of the Shrew enables characters to temporarily change their social positions. 

By donning a disguise, Lucentio transforms himself in the eyes of everyone around him from a young gentleman into a scholar, and Tranio transforms himself from a servant into an aristocrat. 

Clothing facilitates this effect because outward appearance controls the perceptions of others: because Tranio appears to be a gentleman, people treat him as a gentleman. However, as Petruchio says, no matter what a person wears, his inner self will eventually shine through—Lucentio, for instance, may appear to be a tutor, but as soon as the courtship with Bianca develops, he must revert to himself again. 

Additionally, one cannot escape one’s past simply by changing one’s clothes. 

People are bound together in intricate webs and, interwoven as such, cannot escape their identity. 

The webs tend to reveal true selves regardless of attire or intent—a point that Shakespeare illustrates when Vincentio encounters Tranio in disguise.

The Tempest

“Toward the History of Caliban” and “Our Symbol, in relation to Shakespeare's play The Tempest,  Roberto Fernandez Retamar traces the dialectics of the Caliban versus Ariel—both as symbols of barbaric versus civilized America—and their conflicting links with Prospero, the character who represents the colonizer. 

Tracing the evolution of the Caliban’s symbolism, Retamar argues that even as European colonizers have sought to degrade America by assigning it the negative identity of the Caliban, American culture must be derived from its Caliban [cannibalistic] characteristics, which basically means resistance to European colonizing views of the American subject.

Source:

Caliban: Notes Toward a Discussion of Culture in Our America / Roberto Fernández. Retamarhttps://icaadocs.mfah.org/icaadocs/THEARCHIVE/FullRecord/tabid/88/doc/1056617/language/en-US/Default.aspx

Twelfth Night

Twelfth Night, the holiday after which the play is named, was celebrated as a festival in which everything was turned topsy-turvy, with traditional social roles and behavior temporarily suspended. Are things similarly turned upside down in Illyria?

Normal situations are turned upside down in Illyria in several ways:

First, there is the prevalence of disguise and the ambiguity of gender roles. The central character in this regard is the protagonist, Viola. 

After she arrives on Illyrian shores, she takes on the disguise of a young man, thus at once concealing her identity and reversing her normal gender role. 

This reversal leads to a most confusing love life, in which she winds up loving a man and being loved by a woman who do not realize that she is a woman.

Meanwhile, the play also depicts attempts to alter the established systems of class and authority. Malvolio, for instance, dreams of marrying Olivia and gaining authority over his social superiors, such as Sir Toby. 

The servants, whom Malvolio does command, get authority over Malvolio himself by being able to lock him in the dark room as a madman. 

Meanwhile, Malvolio’s antagonist, Maria, succeeds where he fails by managing to marry Sir Toby and thereby rising from her common birth to a noble rank. Indeed, Malvolio’s difficulties seem to stem from his unwillingness to be abnormal enough. He dreams of escaping the rigid class system that makes him a servant, but otherwise he is a paragon of respectability and proper behavior. 

These qualities, in the topsy-turvy world of the play, cause his downfall, because they earn him the enmity of Sir Toby and Maria. 

Finally, all these events take place within a setting in which madness and anarchy are everywhere—Sir Toby’s drunkenness and disruptive behavior, Malvolio’s supposed insanity, Feste’s clowning, and the general perplexity caused by the doubling of Viola and Sebastian. 

All in all, the play is permeated with a sense of joyful confusion, in which nothing can be taken for granted. Thus, as expressed by Veronica in class, Twelfth Night is about self-deception

The Winter's Tale

The abrupt shift in mood after Time announces the passage of sixteen years, and the action shifts to Bohemia. 

Winter comes to an end, and spring enters, bringing with it the promise of rebirth—and as the seasons change, so the story shifts away from tragedy and into the realm of fairy tale and romantic comedy. 

The imagery of Act IV is dominated by the flowers that Perdita wears and dispenses as hostess of the sheep shearing, and the mood of the act is found in the cheerful songs of Autolycus. 

This spirit is eventually brought back to Sicilia, where Act V undoes much of what seemed so tragic in Act III—Perdita is restored to her rightful home, Hermione is restored to life, and even Paulina is given a new husband. 

The Winter's Tale, then, ends the way all winters end—by giving its characters the promise of forgiveness and a fresh start.

As Christian Zevallos suggested, fate restored Leontes' and Polixenes' fridneship, and brought  Florizel and Perdita, Camillo and Paulina together.

Henry V

Shakespeare provides us with plenty of clues that Henry is self-consciously performing the part of the good king, but he doesn’t necessarily give us the sense that Henry is in fact bad. 

Henry V, explores the idea that the qualities that make one a great king are not necessarily morally admirable ones—what makes a good king is not what makes a good person. 

Henry is willing to kill his former friends coldly and slaughter thousands of French people in the heat of battle to satisfy the demands of his throne; he must put his personal feelings second to the requirements of rulership and achieve the result he desires at any cost. 

Henry’s act of placing responsibility for the war on others helps him to achieve his goals, as it burdens others with the moral pressure of stopping the war. 

This behavior may make Henry seem unlikable, but it also makes him a great leader and leads directly to the triumph at Agincourt in Act IV. 

Ultimately, the answer to the question may be that there are no good kings—just effective ones.

Henry II

Most of the characters in the play agree that Richard is a bad leader, and we can see why: he mismanages his country's budget, is out of touch with the common people, creates friction among his relatives, and leaves the country at exactly the wrong moment.

On the other hand, Bolingbroke succeeds in returning from exile, building good foreign relations, obtaining the loyalty of Richard's noblemen, and winning the love of the common folk. 

He is also a plain-spoken man of action, in comparison to Richard's poetic virtuosity and ineffectiveness in practical matters. 

We see them explicitly contrasted in several scenes: for example, when York recounts the ride into the city of London, during which the people cheered Bolingbroke but dumped dust and rubbish on Richard's head (V.ii.4-40). 

It is, of course, ironic that the two are first cousins.

Julius Ceasar

The conspirators manage to kill Caesar, the physically infirm man, who is deaf in one ear, probably epileptic, and aging; indeed, it may be Caesar’s delusions about his own immortality as a man that allow the conspirators to catch him off guard and bring about his death. 

In many ways, however, Caesar’s faith in his permanence proves valid: the conspirators fail to destroy Caesar’s public image, and Antony's words to the crowd serve to burnish Caesar’s image. 

Additionally, the conspirators fail to annihilate the idea that Caesar incarnated: that of a single supreme leader of Rome.

Death does not diminish Caesar’s influence on matters or his presence in the minds of those who loved him. 

Caesar seems to speak from the grave when Antony reads his will, stirring the people to rebellion. Cassius and Brutus attribute their deaths to Caesar when they fall in battle. 

Perhaps most important, Antony begins to call Octavius “Caesar” when Octavius starts to display an undeniable authority in military strategizing. 

This appellation has a double significance: it reveals both Octavius’s future as the bearer of Caesar’s personal legacy and the metamorphosis of Caesar the man into Caesar the institution. 

Even with his death, Caesar has initiated a line of Roman emperors, ending the era of Brutus’s beloved republic

Romeo and Juliet

The attraction between Romeo and Juliet is immediate and overwhelming, and neither of the young lovers comments on or pretends to understand its cause. 

Each mentions the other’s beauty, but it seems that destiny, rather than any particular character trait, has drawn them together. 

Their love for one another is so undeniable that neither they nor the audience feels the need to question or explain it.

As Alessandro D'Avina would say, the heart in not controllable....

Renaissance Theater: Shakespeare's Plays

In class students read, analysed and discussed the main aspects of these plays. The plays highlighted in red, were the plays we discussed in class. They shared with the group the plots and also interesting points addressed in the introductions of the Signet Classical Shakespeare Series edition. Interestingly, reading from an actual book was a rarity they are no longer as used to as previous generations.

COMEDIES

All's Well That Ends Well

As You Like It

Comedy of Errors

Love's Labour's Lost

Measure for Measure

Merchant of Venice
Merry Wives of Windsor

Midsummer Night's Dream

Much Ado about Nothing

Taming of the Shrew

The Tempest

Twelfth Night

Two Gentlemen of Verona

Winter's Tale

HISTORIES

Henry IV, Part I

Henry IV, Part II

Henry V

Henry VI, Part I

Henry VI, Part II

Henry VI, Part III

Henry VIII

King John

Pericles

Henry II

Richard III

TRAGEDIES

Antony and Cleopatra

Coriolanus

Cymbeline

Julius Ceasar

King Lear

Macbeth

Othello

Romeo and Juliet

Timon of Athens

Titus Andronicus

Troilus and Cressida

Medieval Theater: Mystery, Miracle, Morality

Everyman

The students read scenes from Medieval plays and in some cases found texts adapted to contemporary English that were easier to understand and comprehend. Most of the groups chose (The Summoning of Everyman) or simply Everyman, a late 15th-century morality play that uses allegorical characters to bring attention to Christian salvation and what it means to be saved based on Christian faith. 

Bellow, more about Everyman:

Accounting in Everyman

Good Deeds and Everyman

Portland Community College's Everyman - PCC

Everyman Script pdf

Roman Theater: From Plautus and Terence to Seneca

Roman Comedy

Although both tragedies and comedies were written during the period of the Republic (500-27 BCE), the work of only two comedy playwrights has survived -- Titus Plautus (254 to 184 BCE) and Publius Terentius Afer, better known in English as Terence (185 to 159 BCE). 

Plautus is remembered for his farcical comedies. We have 21 of the more than 100 plays he may have written. On the other hand, Terence's six plays, because of their simple style and high moral tone, were used as the literary models by the colleges and universities of the Renaissance.

Seven Stock Characters Plautus Used in His Comedies .

An old man, probably a miser. A young man, possibly the miser's son, who rebels against authority. Usually a pair of slaves. One smart, the other less smart. The two slaves are the source of most of the humor. The parasite. The eternal brother in law, he comes for a visit, and stays forever. The courtesan. The live in maid who knows how to "put out." The slave dealer. Often trades in women. Today we would call him a pimp. Miles Gloriosus, the braggart soldier. He talks a mighty battle, but runs at the first sign of conflict.

Roman Tragedy

Lucius Seneca (ca. 5 BCE - 65 CE), a tutor and advisor to Nero (37-68 CE), was the major playwright of the Roman Empire (27 BCE - 476 CE). Nine of his tragedies have survived. His plays were based primarily on Euripides' plays, but he also "borrowed" from Aeschylus and Sophocles.

Six Major Characteristics of Seneca's Dramas.

1.     He divided his plays into five acts with choral interludes. The interludes were not part of the play's action.

2.     He used elaborate rhetorical speeches. His characters debated, they didn't converse.

3.     He was a moral philosopher. He believed that drama should preach a moral lesson.

4.     His tragedies involved much violent action. They were filled with murder, torture, dismemberment...

5.     His tragedies respected the unity of time (plays action unfolds within 24 hours) and place (the plays actions unfolds at one location).

6.     Each of his characters was dominated by one passion (love, revenge, ambition, etc.) which brought about their downfall.

Class Discussion

The students read some of the nine plays written by Seneca. His plays were never meant to be performed. Some students were able to compare and contrast how the stories changed from a Greek playwright to a Roman one. The plays discussed by the different groups opened a window to Roman theater. These plays were: The Trojan Women, Agamemnon, Hercules Furens, The Phoenician Women and Medea.

The Trojan Women 

"Hecuba, the former queen of Troy, rolled up after they left and was completely dumb-founded on how her hood was looking." (Jackie and Daniel)

Agamemnon

"The wife get away with murder and then murders the only witness who is Agamemnon's mistress."
(Sabrina, Mirtha, Carlos, Christian Z.)

Hercules Furens

"When the curse wears off, he realizes what he has done and tries to die by suicide, but his friend Theseus convinces him not to." (Tiffany, Ashley, Anthony, Carolina).

The Phoenician Women

"Basically, Oedipus wants to die after wondering in exile from power fall, but his daughter Antigone won't let him die; she never wants to leave him." (Emmanuel, Sophia)

Medea

"With her madness consuming her, she sacrifices her sons to hurt Jason; she then throws the bodies of her kids to Jason and flies away on a dragon chariot." (Yoandy, Michelle, Wanda, Maylen, Medea).

Ancient Greek Scripts: City Dionysia Festival

ALTOS DE CHAVÓN AMPHITHEATER

A replica 16th century Mediterranean village in the Dominican Republic.

 Designed by Dominican architect, Jose Antonio Caro, 

and Italian master designer and cinematographer, Roberto Coppa.

Handcrafted by local artisans.

There are 33 Greek plays, 36 Roman plays and more than 400 Greco-Roman Theaters in Europe, the Middle East, North Africa and Central Asia, anywhere the Roman Empire established a protectorate.  There were four major celebrations, in honor of the Greek god Dionysus, the Greek god of wine, fertility and revelry. 

Three of these celebrations, the City Dionysia, in the early spring (March), at Athens, and the Lenaia and Rural Dionysia in the winter, would involve drama. One of the elements of these celebrations was the dithyramb, a choral ode song to the Dionysus, which was sung by a chorus of fifty men. Aristotle tell us that Greek tragedy grew out of the dithyramb. 

Greek mythology is the legends and stories behind the Greek gods. The earliest Greek dramas, especially those by Aeschylus (525-456 BCE), drew their plots and characters from these myths.

Aeschylus (525-456 BCE) won thirteen Tragic Contests. There have been found seven of the approximately 80 plays he wrote, including the only complete trilogy: Oresteia (458 BCE): Agamemnon, Libation Bearers, and Eumenides. He added the second actor, creating the possibility of dramatic dialogue. Thespis' tragedies utilized only one actor and the chorus.

Sophocles wrote Oedipus Tyrannos  (430-425? BCE), also known as Oedipus Rex or Oedipus the King. Sophocles won eighteen Tragic Contests. Like Aeschylus, only seven of the more than 120 plays he wrote have survived. Oedipus is considered one of the great tragedies of all times. Oedipus is known as the Greek king who murdered his father and married his mother. Sophocles' contribution to the art of playwrighting is based on the fact that he added the third actor. Euripides wrote The Trojan Women, among other plays. More plays by Euripides have been kept than those written by both Sophocles and Aeschylus combined.  The Romans, who eventually over throw Greece's Macedonian rulers (168 BCE), considered Euripides (ca. 480-407 BCE) a greater playwright, hence taking better care of his manuscripts. He won only five Contests, but we have seventeen of his approximately 90 tragedies. About 3.5% of the tragedies written during Greece's Golden Age (from 534 to 400 BCE) have survived. All were written by these three playwrights.

Aristophanes (ca. 448 - ca. 380 BCE) is the only Old Greek Comedy playwright whose work has survived.  He wrote political satire and high comedy.  He is best remembered for the four plays titled after the chorus: the The Clouds (423 BCE), The Wasps (422 BCE), The Birds (414 BCE), and The Frogs (405 BCE). Probably his most often revived script is Lysistrata (411 BCE), the story of the women of Athens and Sparta who bring an end to the long war between these two city states through a sex strike.

S   C   R   I   P   T   S

David Oyelowo in Prometheus Bound

Prometheus Bound By Aeschylus

https://edisciplinas.usp.br/pluginfile.php/2596054/mod_resource/content/1/PROMETHEUS%20BOUND%20BY%20AESCHYLLUS.pdf

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                                                                                               Steven Weatherbee in "A Particle of Dread,"
                                                                                                               Fresno State, Sept. 19, 2017. 
                                                                                                             (Eric Zamora/The Collegian)

Oedipus the King  By Sophocles

http://abs.kafkas.edu.tr/upload/225/Oedipus_the_King_Full_Text.pdf

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Seymour's Antigone

Antigone By Sophocles

https://mthoyibi.files.wordpress.com/2011/05/antigone_2.pdf

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The Trojan Women 

The Trojan Women By Euripides

http://classics.mit.edu/Euripides/troj_women.html

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Company of Lysistrata. Photo by Chris Bennion 

Lysistrata By Aristophanes

https://lcsl.uic.edu/docs/default-source/classics/the-original-ancient-text.pdf?sfvrsn=0

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R E A D I N G S

The students clustered in small groups and picked one of the above plays to study their scripts, contextualize them and read them for one another.

The Trojan Women group in the background and the Lysistrata group in the foreground.

Oedipus the King, Prometheus Bound and Antigone groups.