Introduction to Theatre

Edition: 2

Copyright: 2017

Pages: 152

Choose Your Format

Ebook

$42.53 USD

ISBN 9781524919573

Details Electronic Delivery EBOOK 180 days

In the following chapters of this book, you will study and develop your own aesthetic experiences with the specific art form of theatre. To that end, we will be introducing you to a diverse set of examples of theatre—ones that differ in the nature of their performances and also in the way theatre artists created them.
 

This book is designed to meet you where you are, whether you are someone who has had extensive theatre experience as an audience member or a participant, or if you have never seen a play before. Because we don’t assume any prior experience or want to discount it, we have made every effort to keep this book as jargon-free as possible without watering down any concepts. We also have made every effort to activate and validate your critical thinking as a capable investigator of this art form.
 

This textbook and the course of study it accompanies do not endorse any type of theatre as superior over any others. Admittedly, our case study examples are subjective; we chose them because of our prior familiarity with them, but every attempt has been made to present the diversity of theatre without ranking or value judgment. We start with examples of narrative theatre with strong conflicts and move to examples unified by theme or other more abstract forms as you gain proficiency in the objectives of the course—not because narrative theatre is “easier” than other forms, but because most people will find the storytelling accessible and therefore can more readily move beyond comprehension of content into analysis of form. Complexity should not be conflated with difficulty. Instead of thinking of the case studies in this book as analogous to “reading levels,” we prefer to frame them as a “buffet” of sorts. We want you to experience different tastes and to broaden your palate—to experience new things and then to decide for yourself what types of theatre you prefer.
 

This is more of a workbook than a conventional reference textbook. We have included case studies, interviews, and skill building pages alongside worksheets and extra white space for you to populate with your own notes and reflections. Engage with this book as you complete your assigned reading for class, answering the questions posed to you as you go along. If there is an unfamiliar word to you, look it up and jot down the definition in the margin. If you are having trouble understanding a concept, “google” it and see if it helps you with your understanding, and keep a record of what you have learned. Move at your own pace and use the text in tandem with multimedia examples and any other supplemental reading and viewing assignments. Please make sure to bring your book with you to every class, as you will be able to take notes right in the book itself for class lectures and activities.
 

Introduction

CHAPTER ONE Theatre and the Aesthetic Experience

What Is Art?

What Is Theatre?

Theatre vs. Film and the Movie in Our Minds

The Empty Stage

The Relationship between the Audience and the Play

“The Fourth Wall”

Suggested Activities

CHAPTER TWO Theatre and Storytelling

Narrative

Conflict

The Dollar Bill Exercise

Plot

CASE STUDY: Doubt by John Patrick Shanley

CRITICAL Questions

SKILLS FOCUS: Creating Effective Interview Questions

Suggested Activities

RECOMMENDED READING

CHAPTER THREE The Theatrical Environment

Theatrical Environment

The Relationship of an Audience to the Action

Theatrical Environment as World

Stage Directions

Representation and Imagination 37

Suggested Activity

INTERVIEW: Joe Silovsky, Set Designer & Performance Artist

SKILLS FOCUS: Research and Annotated Bibliographies

Suggested Activity

RECOMMENDED READING and viewing

CHAPTER FOUR Creating Theatre

Creative Collaboration

Concept

Production Models

Ensemble Theatre

Non-Narrative and/or Non-Text Based Work

Work Requiring Special Training

Devised Theatre

Commercial vs. Non-Profit Theatre

Broadway vs. Off-Broadway (and Off-Off Broadway)

Theatre Outside of New York City

INTERVIEW: Broadway Producer Cheryl Wiesenfeld

INTERVIEW: Costume Designer Carrie Robbins

CASE STUDY: The Laramie Project by Moisés Kaufman and

The Members of Tectonic Theatre Project

critical questions

SKILLS FOCUS: Being a Great Audience Member

Suggested Activities

RECOMMENDED READING and viewing

CHAPTER FIVE The Performer

Training

OUTSIDE IN: Delsarte’s System

INSIDE OUT: Stanislavski’s System

Preparation and Rehearsal

Improvisation

Improvisation and Community-Based Work

INTERVIEW: Hai-Ting Chinn, Performer

SUGGESTED ACTIVITY

RECOMMENDED READING

Forum Theatre Experience Rehearsal Report

CHAPTER SIX Theatre and Society

Mainstream and the Avant-Garde

Musical Theatre

Political Theatre

Translation and Adaptation

INTERVIEW: Composer/Lyricist/Playwright Adam Overett

INTERVIEW: Dramaturg Ken Cerniglia

SUGGESTED ACTIVITY

RECOMMENDED READING AND VIEWING

CHAPTER SEVEN Defining Your Personal Aesthetic

Writing What You Believe about Theatre

SKILLS FOCUS: Manifestos and Personal Statements

INTERVIEW: Artistic Director of Rhymes Over Beats, Patrick Blake

SUGGESTED ACTIVITIES

RECOMMENDED READING AND VIEWING

APPENDIX Worksheets for Group Project 

Catherine Cammarata
Jeanette Yew
Elizabeth Bojsza

In the following chapters of this book, you will study and develop your own aesthetic experiences with the specific art form of theatre. To that end, we will be introducing you to a diverse set of examples of theatre—ones that differ in the nature of their performances and also in the way theatre artists created them.
 

This book is designed to meet you where you are, whether you are someone who has had extensive theatre experience as an audience member or a participant, or if you have never seen a play before. Because we don’t assume any prior experience or want to discount it, we have made every effort to keep this book as jargon-free as possible without watering down any concepts. We also have made every effort to activate and validate your critical thinking as a capable investigator of this art form.
 

This textbook and the course of study it accompanies do not endorse any type of theatre as superior over any others. Admittedly, our case study examples are subjective; we chose them because of our prior familiarity with them, but every attempt has been made to present the diversity of theatre without ranking or value judgment. We start with examples of narrative theatre with strong conflicts and move to examples unified by theme or other more abstract forms as you gain proficiency in the objectives of the course—not because narrative theatre is “easier” than other forms, but because most people will find the storytelling accessible and therefore can more readily move beyond comprehension of content into analysis of form. Complexity should not be conflated with difficulty. Instead of thinking of the case studies in this book as analogous to “reading levels,” we prefer to frame them as a “buffet” of sorts. We want you to experience different tastes and to broaden your palate—to experience new things and then to decide for yourself what types of theatre you prefer.
 

This is more of a workbook than a conventional reference textbook. We have included case studies, interviews, and skill building pages alongside worksheets and extra white space for you to populate with your own notes and reflections. Engage with this book as you complete your assigned reading for class, answering the questions posed to you as you go along. If there is an unfamiliar word to you, look it up and jot down the definition in the margin. If you are having trouble understanding a concept, “google” it and see if it helps you with your understanding, and keep a record of what you have learned. Move at your own pace and use the text in tandem with multimedia examples and any other supplemental reading and viewing assignments. Please make sure to bring your book with you to every class, as you will be able to take notes right in the book itself for class lectures and activities.
 

Introduction

CHAPTER ONE Theatre and the Aesthetic Experience

What Is Art?

What Is Theatre?

Theatre vs. Film and the Movie in Our Minds

The Empty Stage

The Relationship between the Audience and the Play

“The Fourth Wall”

Suggested Activities

CHAPTER TWO Theatre and Storytelling

Narrative

Conflict

The Dollar Bill Exercise

Plot

CASE STUDY: Doubt by John Patrick Shanley

CRITICAL Questions

SKILLS FOCUS: Creating Effective Interview Questions

Suggested Activities

RECOMMENDED READING

CHAPTER THREE The Theatrical Environment

Theatrical Environment

The Relationship of an Audience to the Action

Theatrical Environment as World

Stage Directions

Representation and Imagination 37

Suggested Activity

INTERVIEW: Joe Silovsky, Set Designer & Performance Artist

SKILLS FOCUS: Research and Annotated Bibliographies

Suggested Activity

RECOMMENDED READING and viewing

CHAPTER FOUR Creating Theatre

Creative Collaboration

Concept

Production Models

Ensemble Theatre

Non-Narrative and/or Non-Text Based Work

Work Requiring Special Training

Devised Theatre

Commercial vs. Non-Profit Theatre

Broadway vs. Off-Broadway (and Off-Off Broadway)

Theatre Outside of New York City

INTERVIEW: Broadway Producer Cheryl Wiesenfeld

INTERVIEW: Costume Designer Carrie Robbins

CASE STUDY: The Laramie Project by Moisés Kaufman and

The Members of Tectonic Theatre Project

critical questions

SKILLS FOCUS: Being a Great Audience Member

Suggested Activities

RECOMMENDED READING and viewing

CHAPTER FIVE The Performer

Training

OUTSIDE IN: Delsarte’s System

INSIDE OUT: Stanislavski’s System

Preparation and Rehearsal

Improvisation

Improvisation and Community-Based Work

INTERVIEW: Hai-Ting Chinn, Performer

SUGGESTED ACTIVITY

RECOMMENDED READING

Forum Theatre Experience Rehearsal Report

CHAPTER SIX Theatre and Society

Mainstream and the Avant-Garde

Musical Theatre

Political Theatre

Translation and Adaptation

INTERVIEW: Composer/Lyricist/Playwright Adam Overett

INTERVIEW: Dramaturg Ken Cerniglia

SUGGESTED ACTIVITY

RECOMMENDED READING AND VIEWING

CHAPTER SEVEN Defining Your Personal Aesthetic

Writing What You Believe about Theatre

SKILLS FOCUS: Manifestos and Personal Statements

INTERVIEW: Artistic Director of Rhymes Over Beats, Patrick Blake

SUGGESTED ACTIVITIES

RECOMMENDED READING AND VIEWING

APPENDIX Worksheets for Group Project 

Catherine Cammarata
Jeanette Yew
Elizabeth Bojsza