Curs - Main trends in british english drama

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Profesor îndrumător / Prezentat Profesorului: Ioana Mohor

Universitatea “Dunarea de Jos” din Galati Facultatea de Litere I.D.D.

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Cuprins

CHAPTER 1: ELEMENTS OF DRAMATIC DISCOURSE 7
1.1. Drama / Theatre 7
1.2. Genres of Drama 7
1.3. Elements of Drama 8
CHAPTER 2: REALISM / NATURALISM AND THE BRITISH STAGE 9
2.1. The nineteenth-century theatrical background 9
2.2. The naturalist movement 9
2.2.1. Zola: early theory 10
2.2.2. Ibsen: the “modern” drama 10
2.2.3. Antoine: a new production style 10
2.2.4. Stanislavski: a new acting style 11
2.2.5. Chekhov: the “theatre of mood” 11
2.3. Realism in Britain 12
2.3.1. Domestic realism 12
2.3.2. The late 19th-century stage 13
2.3.3. Henry Arthur Jones 14
2.3.4. Arthur Wing Pinero 14
2.4. Championing Ibsen: G.B. Shaw 15
2.4.1. Characteristics of Shavian drama 16
2.5. Shavian Influences 16
2.5.1. Haley Granville Barker 17
2.5.2. John Galsworthy 17
2.5.3. D.H. Lawrence 18
2.6. Postwar Developments 18
2.6.1. John Osborne 19
2.6.2. Arnold Wesker 19
2.7. Task 20
CHAPTER 3: SYMBOLISM AND THE BRITISH STAGE 21
3.1. The symbolist movement 21
3.2. European developments 21
3.2.1. Theory: Wagner and Nietzsche 21
3.2.2. Stagecraft and Production: Appia and Craig 22
3.2.3. Playwrights: Maeterlinck and Claudel 23
3.3. British symbolist drama 23
3.3.1. Oscar Wilde 24
3.3.2. W.B. Yeats 25
3.3.3. T.S. Eliot 26
3.3.4. Christopher Fry 29
3.4. Task 29
CHAPTER 4: EXPRESSIONISM AND THE BRITISH STAGE 31
4.1. The Expressionist movement 31
4.2. European developments 32
4.2.1. Strindberg’s “dream play” 32
4.2.2. German Expressionism 32
4.2.2.1. Georg Kaiser 33
4.2.2.2. Ernst Toller 33
4.3. American Expressionism: Eugene O’Neill 33
4.4. British Expressionism 34
4.4.1. Sean O’Casey 34
4.4.2. Auden and Isherwood 35
4.4.3. The radio play 36
4.4.3.1. Louis MacNiece 36
4.4.3.2. Dylan Thomas 36
4.5. Task 37
CHAPTER 5: EPIC THEATRE AND BRITISH VARIANTS 39
5.1. From Expressionism to Epic Theatre 39
5.1.1. Erwin Piscator 39
5.2.2. Bertold Brecht 40
5.2. British Epic Equivalents 42
5.2.1. Brechtian Directors 42
5.2.1.1. Peter Brook 42
5.2.1.2. Joan Littlewood 42
5.2.2. Pseudo-brechtian Plays 44
5.2.3. Brechtian playwrights 44
5.2.3.1. John Arden 44
5.2.3.2. Edward Bond 45
5.3. Task 46
MINIMAL BIBLIOGRAPHY 47

Extras din curs

Obiective:

• Aprofundarea cunostiintelor teoretice si a terminologiei de specialitate privind interpretarea modelelor si structurilor dramatice;

• Studierea principalelor directii ale dramaturgiei britanice moderne;

• Rafinarea deprinderilor de analiză si evaluare a textelor dramatice şi a elementelor de spectacol.

Tipuri si modalitati de activitate didactica:

• prelegerea,

• conversaţia euristică,

• explicaţia,

• dezbaterea,

• studiul de caz,

• problematizarea,

• metode de lucru în grup, individual şi frontal,

• metode de dezvoltare a gândirii critice,

• portofoliul,

• studiul bibliografiei.

CHAPTER 1 – ELEMENTS OF DRAMATIC DISCOURSE

1.1. Drama / Theatre

Drama: a play written in prose or verse that tells a story through dialogue and actions performed by actors impersonating the characters of the story.

Dramatic illusion: the illusion of reality created by drama and accepted by the audience for the duration of the play.

Theatre:

a) the building in which a play is performed:

• arena stage: a stage surrounded on all sides by the audience; actors make exists and entrances through the aisles.

• thrust stage: a stage extending beyond the proscenium arch, usually surrounded on three sides by the audience.

• proscenium stage: a stage having an arched structure at the front from which a curtain often hangs. The arch frames the action onstage and separates the audience from the action.

b) drama as an art form, including the written text and the concrete performance.

1.2. Dramatic Genres:

• TRAGEDY: serious drama in which a protagonist, traditionally of noble position, suffers a series of unhappy events culminating in a catastrophe such as death or spiritual breakdown.

• COMEDY: a type of drama intended to interest and amuse rather than to concern the audience deeply. Although characters experience various discomfitures, the audience feels confident that they will overcome their ill-fortune and find happiness in the end.

• TRAGICOMEDY: play that combines elements of tragedy and comedy. Tragedies also include a serious plot in which the expected tragic catastrophe is replaced by a happy ending.

• MELODRAMA: a suspenseful play filled with situations that appeal excessively to the audience’s emotions. Justice triumphs in a happy ending: the good characters (completely virtuous) are rewarded and the bad characters (thoroughly villainous) are punished.

1.3. Elements of drama:

• PLOT: the events of a play or narrative. The sequence and relative importance a dramatist assigns to these events.

• CHARACTER: any person appearing in a drama or narrative.

• SETTING: the time and place in which the action occurs; the backdrop and set onstage that suggest to the audience the surrounding in which a play’s action takes place.

• DIALOGUE: spoken interchange or conversation between two or more characters.