Some 20Some 20thth Century Century Theatre InnovationsTheatre Innovations

Many innovators of modern drama were Many innovators of modern drama were too confronting and different to be too confronting and different to be accepted and understood in their own life accepted and understood in their own life timetimeThis was certainly the case with people This was certainly the case with people such as Brecht, Artaud and otherssuch as Brecht, Artaud and othersTheir ideas have now been accepted and Their ideas have now been accepted and allowed to influence many directors, allowed to influence many directors, designers and actorsdesigners and actors

Theatre StylesTheatre Styles

Theatre of CrueltyTheatre of Cruelty

Poor TheatrePoor Theatre

Theatre of the Absurd Theatre of the Absurd

Theatre of CrueltyTheatre of Cruelty

Antonin ArtaudAntonin Artaud

FrenchFrench

1895 – 19481895 – 1948

He was writing at the same time as Brecht He was writing at the same time as Brecht was writing his Epic, political playswas writing his Epic, political plays

Artaud used the term “Theatre of Cruelty” Artaud used the term “Theatre of Cruelty” to define the style of work he believed was to define the style of work he believed was needed to revitalise the theatreneeded to revitalise the theatre

His theories were based around utilising a His theories were based around utilising a physical theatre languagephysical theatre language

He believed text provided nothing more He believed text provided nothing more than a starting pointthan a starting point

Sound, space, movement, light, spectacle Sound, space, movement, light, spectacle and non verbally based acting would and non verbally based acting would combine, in Artaud’s view, to excite, shock combine, in Artaud’s view, to excite, shock and enthral audiences, forcing them to and enthral audiences, forcing them to confront the inner, primal selfconfront the inner, primal self

Artaud proclaimed that theatre should Artaud proclaimed that theatre should return to its primitive roots and aim to return to its primitive roots and aim to provide an experience of communal ritualprovide an experience of communal ritual

Artaud was interested in exploring the Artaud was interested in exploring the human mindhuman mind

Artaud was a surrealist in the 1920’sArtaud was a surrealist in the 1920’s

He believed many dark secrets were He believed many dark secrets were hidden deep inside our minds hidden deep inside our minds (subconscious) that we are not aware of, (subconscious) that we are not aware of, that caused us to do the things we didthat caused us to do the things we did

Artaud was deeply influenced by the Artaud was deeply influenced by the Surrealist movement even when he left the Surrealist movement even when he left the movementmovement

Surrealism – Salvador DaliSurrealism – Salvador Dali

Another member of the Surrelist Another member of the Surrelist movement was Salvador Dalimovement was Salvador Dali

He was famous for his dream paintings He was famous for his dream paintings filled with objectsfilled with objects

Salvador Dali’s paintingsSalvador Dali’s paintings

Artaud belived that theatre should force Artaud belived that theatre should force people to confront and heal their inner people to confront and heal their inner selves or they will become negative and selves or they will become negative and destructivedestructive

He disapproved of the typical plays that He disapproved of the typical plays that dealt with social problems or individualsdealt with social problems or individuals

Unlike Brecht who wanted to brainwash Unlike Brecht who wanted to brainwash his audience with strong messages, his audience with strong messages, Artaud thought that was a waste of timeArtaud thought that was a waste of timeTheatre needed to be more primitive and Theatre needed to be more primitive and instinctive if it was to really touch people instinctive if it was to really touch people and change themand change themHe used the term “Theatre of Cruelty” He used the term “Theatre of Cruelty” because he was forcing the audience to because he was forcing the audience to face itself. He was being ‘cruel to be kind’face itself. He was being ‘cruel to be kind’

Rituals and symbols were seen as Rituals and symbols were seen as powerfulpowerful

The aim of Theatre of Cruelty was to crahs The aim of Theatre of Cruelty was to crahs through the shell of bourgeois civilisation through the shell of bourgeois civilisation and its cultural restrictions and to get to a and its cultural restrictions and to get to a deeper, more spiritual planedeeper, more spiritual plane

His quest was as much socially motivated His quest was as much socially motivated as artisticallyas artistically

Theatre SpacesTheatre Spaces

Artaud felt that plays should be taken out Artaud felt that plays should be taken out of the traditional theatre building which he of the traditional theatre building which he rejected as being too formalrejected as being too formal

He preferred large spaces such as He preferred large spaces such as warehouseswarehouses

The audience intermingled with the actorsThe audience intermingled with the actors

No scenery except for symbolsNo scenery except for symbols

Lighting was to be fast and excitingLighting was to be fast and exciting

Sound was also importantSound was also important

Artaud believed that the audience could be Artaud believed that the audience could be ‘assaulted’ with a fast paced ‘assaulted’ with a fast paced light/sound/human showlight/sound/human show

He believed the audiences’ inner selves He believed the audiences’ inner selves would be released and be confronted and would be released and be confronted and healedhealed

Although Artaud’s aims might seem far Although Artaud’s aims might seem far fetched, his ideas can be adapted into fetched, his ideas can be adapted into contemporary preformancescontemporary preformances

These days many people use drama in These days many people use drama in Artaud’s way to heal from psychological Artaud’s way to heal from psychological pain and this is called psychodramapain and this is called psychodrama

Artaud suffered mental and emotional Artaud suffered mental and emotional breakdownsbreakdownsThis perhaps explains why he was This perhaps explains why he was interested in this area of dramainterested in this area of dramaAfter he died his published works inspired After he died his published works inspired many dramatistsmany dramatistsIn 1963 the Theatre of Cruelty was formed In 1963 the Theatre of Cruelty was formed and Artaud’s ideas were materialised and and Artaud’s ideas were materialised and touredtoured

The Theatre and Its DoubleThe Theatre and Its Double

Artaud’s book, “The Theatre and Its Double” was Artaud’s book, “The Theatre and Its Double” was originally released in 1933originally released in 1933

It was not really influential until after his deathIt was not really influential until after his death

Practioners such as Julian Beck and Judith Practioners such as Julian Beck and Judith Malina, founders of America’s Living Theatre, Malina, founders of America’s Living Theatre, Joseph Chaikin and his Open Theatre, English Joseph Chaikin and his Open Theatre, English director Peter Brook and Jerzy Grotowski, director Peter Brook and Jerzy Grotowski, founder of the Polish Laboratory theatre, were founder of the Polish Laboratory theatre, were all influenced by “The Theatre and Its Double”all influenced by “The Theatre and Its Double”

Although this was not a theatre style Although this was not a theatre style based on text it still inspired several works based on text it still inspired several works in the written formin the written form

The most important of these written plays The most important of these written plays was the Peter Weiss’ play “Marat/Sade”was the Peter Weiss’ play “Marat/Sade”

Poor TheatrePoor Theatre

Jerzy GrotowskiJerzy Grotowski

Born in Poland 1933Born in Poland 1933

His ideas about acting and theatre have His ideas about acting and theatre have conrtibuted greatly in that they reclaimed conrtibuted greatly in that they reclaimed the essential importance and role of the the essential importance and role of the actoractor

Grotowski reminded people that one did Grotowski reminded people that one did not need expensive sets, lighting and not need expensive sets, lighting and costumescostumes

His theatre was actor basedHis theatre was actor based

Hence his theatre was called “Poor Hence his theatre was called “Poor Theatre”Theatre”

When all stage elements are removed, When all stage elements are removed, only the essentials are left – actors and only the essentials are left – actors and audienceaudience

The relationship between actor and The relationship between actor and audience is a powerful one which audience is a powerful one which Grotowski studied closely as part of his Grotowski studied closely as part of his ‘laboratory’‘laboratory’

Great demands are made on actors in Great demands are made on actors in Poor TheatrePoor Theatre

They are the centre of attention, the keyThey are the centre of attention, the key

Effective actors must work on themselves Effective actors must work on themselves until they can give of themselves fullyuntil they can give of themselves fully

Grotowski worked intensely with his actors Grotowski worked intensely with his actors as he recognised that all individuals are as he recognised that all individuals are uniqueunique

““Towards a Poor Theatre”Towards a Poor Theatre”

Grotowski’s book “Towards a Poor Theatre” Grotowski’s book “Towards a Poor Theatre” included many of the exercises that he used to included many of the exercises that he used to free up his actorsfree up his actors

Some of his techniques included silence/inner Some of his techniques included silence/inner meditation, physical endurance and training in meditation, physical endurance and training in emotional memory*emotional memory*

*Emotional memory is reliving an event to recreate *Emotional memory is reliving an event to recreate the emotion.the emotion.

Theatre SpacesTheatre Spaces

Plays were staged in diverse settingsPlays were staged in diverse settings

Ordinary rooms to warehousesOrdinary rooms to warehouses

Like Artaud he saw no need to separate Like Artaud he saw no need to separate the audience and the actorsthe audience and the actors

He wanted to create a dynamic audience He wanted to create a dynamic audience relationshiprelationship

Grotowski believed the power of the actor Grotowski believed the power of the actor should be so strong that he/she could should be so strong that he/she could transform anything around him through the transform anything around him through the power of his/her beliefpower of his/her belief

In other words the floor could become the In other words the floor could become the sea or a boat, etcsea or a boat, etc

Grotowski’s influence came at the best possible Grotowski’s influence came at the best possible time for it seemed to re-invent drama and the time for it seemed to re-invent drama and the theatre t a time when dramatists had to compete theatre t a time when dramatists had to compete with films, videos and television. The only plays with films, videos and television. The only plays at the time seemed to be lavish, expensive at the time seemed to be lavish, expensive musicalsmusicals

Gortowski showed us that even a vulnerable Gortowski showed us that even a vulnerable lone actor with no props can have as much lone actor with no props can have as much impact as any blockbuster filmimpact as any blockbuster film

Theatre of the AbsurdTheatre of the Absurd

Absurdism was a movement based on the Absurdism was a movement based on the ideas of Existentialismideas of Existentialism

Existentialism was first developed by Existentialism was first developed by Jean-Paul Sartre and Albert CamusJean-Paul Sartre and Albert Camus

They were both FrenchThey were both French

According to existentialists, life is According to existentialists, life is meaningless – just a series of acts - meaningless – just a series of acts - nothingnothing

Jean-Paul SartreJean-Paul Sartre

Albert CamusAlbert Camus

Absurdist theatre rose to prominence in Absurdist theatre rose to prominence in the 1950’sthe 1950’s

Its precursors can probably be found in the Its precursors can probably be found in the works of earlier playwrights like Kafka, works of earlier playwrights like Kafka, Jarry and PirandelloJarry and Pirandello

KafkaKafka

JarryJarry

PirandelloPirandello

Famous Absurdist PlaywrightsFamous Absurdist Playwrights

Eugene IonescoEugene Ionesco

Samuel BeckettSamuel Beckett

Jean GenetJean Genet

Eugene Ionesco 1912 - 1994Eugene Ionesco 1912 - 1994

Ionesco’s PlaysIonesco’s Plays

RhinocerosRhinoceros

The Bald SopranoThe Bald Soprano

The ChairsThe Chairs

Samuel Beckett 1906 - 1989Samuel Beckett 1906 - 1989

His playsHis plays

Waiting For GodotWaiting For Godot

EndgameEndgame

Krapp’s Last TapeKrapp’s Last Tape

Jean Genet 1910 - 1986Jean Genet 1910 - 1986

His PlaysHis Plays

The MaidsThe Maids

The BalconyThe Balcony

The BlacksThe Blacks

Absurdist PlaysAbsurdist Plays

Absurdist plays highlight the meaningless Absurdist plays highlight the meaningless or absurdity of life and often feature an or absurdity of life and often feature an underlying despairunderlying despair

The fundamental belief expressed in The fundamental belief expressed in absurdist works is that humankind is lost in absurdist works is that humankind is lost in a godless universe, where their actions a godless universe, where their actions and behaviour become absurd and and behaviour become absurd and uselessuseless

The illogical and the irrational are at the The illogical and the irrational are at the heart of most absurdist dramaheart of most absurdist drama

Characters tend to be archetypalCharacters tend to be archetypal

Language is irrelevant in the sense that it Language is irrelevant in the sense that it fails to convey meaningfails to convey meaning

Time and place have no real relevance Time and place have no real relevance eithereither

Despite this grim outlook, Absurdist Despite this grim outlook, Absurdist Theatre is essentially comic in natureTheatre is essentially comic in nature

Humankind is deluded in its belief that it is Humankind is deluded in its belief that it is at the centre of the universeat the centre of the universe

This is seen as a ridiculous proposal which This is seen as a ridiculous proposal which warrants nothing more than laughter and warrants nothing more than laughter and derisionderision

Features of Absurdist PlaysFeatures of Absurdist Plays

Features may include:Features may include:Non-realityNon-realityNo sense of time/placeNo sense of time/placeUnusual charactersUnusual charactersAbsurd happeningsAbsurd happeningsChaosChaosSimple/minimal setsSimple/minimal setsMeaningless dialogue/word gamesMeaningless dialogue/word gamesRepetition highlighting futilityRepetition highlighting futilityHumourHumour

Some people find Absurdist plays hard to Some people find Absurdist plays hard to understand and cope with, however the understand and cope with, however the movement produced some very movement produced some very impressive plays which are still staged impressive plays which are still staged regularly todayregularly today