How to enjoy theatre?How to enjoy theatre?

Lecturer: Wang, Yueh-chiuLecturer: Wang, Yueh-chiu Associate professorAssociate professor

National Penghu UniversityNational Penghu University

How a play becomes a performance? How a play becomes a performance?

PlaywrightPlaywright AgentAgent Producer Producer DirectorDirector AngelsAngels Special company staffSpecial company staff

The director steers the play and ensures that thThe director steers the play and ensures that the contributions of the cast and of the designers e contributions of the cast and of the designers of sets, costumes and lighting all contribute toof sets, costumes and lighting all contribute towards his interpretation.wards his interpretation.

The style and mood of a play should be reflectThe style and mood of a play should be reflected in its settings and costumes, a point clearly ed in its settings and costumes, a point clearly made in the recent Royal Company’s enormoumade in the recent Royal Company’s enormously successful production of Nicolas Nickleby. sly successful production of Nicolas Nickleby.

Costumes are an obvious point of interest, but Costumes are an obvious point of interest, but a clever designer can manipulate an audience’s a clever designer can manipulate an audience’s feelings in both bold and subtle ways.feelings in both bold and subtle ways.

Today’s theatre is the result of an almost Today’s theatre is the result of an almost continuous period of development over several continuous period of development over several thousand years.thousand years.

The origins of drama are complex and remote, The origins of drama are complex and remote, involving a study not only of the earliest involving a study not only of the earliest civilizations but of man himself. civilizations but of man himself.

(1) man’s behavior (2) ancient folk ceremonies (1) man’s behavior (2) ancient folk ceremonies and (3) religious ceremony. and (3) religious ceremony.

The importance of ritual in the story of drama The importance of ritual in the story of drama lies not only in the significance of the event lies not only in the significance of the event being celebrated, but in the creation and being celebrated, but in the creation and communication of an emotional response-by-communication of an emotional response-by-product of ritual. product of ritual.

What is theatre? What is theatre?

1. Over the centuries the nature of drama and 1. Over the centuries the nature of drama and the manner of its presentation have changed the manner of its presentation have changed considerably; the theatre has adapted and considerably; the theatre has adapted and responded to changing times and sentiments.responded to changing times and sentiments.

2. In fact, theatre today is going through one of 2. In fact, theatre today is going through one of its most striking periods of adaptability, and its its most striking periods of adaptability, and its forms and activities are more varied and forms and activities are more varied and widespread than they have ever been. widespread than they have ever been.

Modern theatre is less sensational, but it can still Modern theatre is less sensational, but it can still provide headline news. provide headline news.

Clearly, theatre is a powerful medium. It is capable Clearly, theatre is a powerful medium. It is capable of influencing the thought and feeling of its audience of influencing the thought and feeling of its audience to a remarkable degree, usually through its stock-in-to a remarkable degree, usually through its stock-in-trade of laughter and tears. trade of laughter and tears.

The great strength and special attraction of the theatre The great strength and special attraction of the theatre is its immediacy; it is live entertainment. Live theatre is its immediacy; it is live entertainment. Live theatre indulges its audience over passages that are going indulges its audience over passages that are going down well, and moves on swiftly when it senses down well, and moves on swiftly when it senses disinterest. disinterest.

This atmosphere is especially noticeable at a This atmosphere is especially noticeable at a successful comedy, when an audience will be successful comedy, when an audience will be particularly relaxed and happy, while at a serious play particularly relaxed and happy, while at a serious play their attentiveness is increased and concentration their attentiveness is increased and concentration intensified. A shared experience has proved salutary, intensified. A shared experience has proved salutary, and quite apart from what the members of the and quite apart from what the members of the audience have derived from the play itself, they have audience have derived from the play itself, they have benefited from the mere experiencing of it in the benefited from the mere experiencing of it in the company of other people.company of other people.

This is what theatre is all about—This is what theatre is all about—communicating and stimulating a response. communicating and stimulating a response. Theatre is particularly suited to achieve this Theatre is particularly suited to achieve this end since it deals with most of the senses.end since it deals with most of the senses.

The costumes and settings, the drumming and The costumes and settings, the drumming and chanting and the essence of all drama—chanting and the essence of all drama—conflict-make an amazing piece of total conflict-make an amazing piece of total theatre.theatre.

But a play can be powerful using only the But a play can be powerful using only the simplest of settings, naturalistic acting and simplest of settings, naturalistic acting and ordinary everyday clothes—provided the ordinary everyday clothes—provided the theme is riveting enough.theme is riveting enough.

It is the ability of theatre simultaneously to It is the ability of theatre simultaneously to stimulate thought and to entertain which has stimulate thought and to entertain which has made it such a lasting art form.made it such a lasting art form.

Theatre comes in many guises. It can be Theatre comes in many guises. It can be magically beautiful or violently cruel, it can magically beautiful or violently cruel, it can thrilling or merely charming, stimulating or thrilling or merely charming, stimulating or reassuring, purely for pleasure or something to reassuring, purely for pleasure or something to make you think. There is such a diversity of make you think. There is such a diversity of subject matter and so many forms of subject matter and so many forms of presentation.presentation.

Basically there are two sorts of theatre in BritaBasically there are two sorts of theatre in Britain today: first commercial, and second sponsoin today: first commercial, and second sponsored and subsidised. Commercial theatre exists red and subsidised. Commercial theatre exists to make money. To this end commercial theatto make money. To this end commercial theatre usually chooses plays in the light entertainre usually chooses plays in the light entertainment bracket. ment bracket.

Sponsored and subsidised theatre are heavily sSponsored and subsidised theatre are heavily supported by such funding bodies as the Arts Cupported by such funding bodies as the Arts Council, local authorities, large business firms, ouncil, local authorities, large business firms, and cultural organizations.and cultural organizations.

The scale and standard of production achieved The scale and standard of production achieved in both commercial and subsidised theatre depin both commercial and subsidised theatre depends largely on the finance available, which coends largely on the finance available, which controls such things as the size of the theatre and ntrols such things as the size of the theatre and the company employed, as well as the status of the company employed, as well as the status of the artistic director and designers.the artistic director and designers.

Plays were designed and written in dramatic Plays were designed and written in dramatic terms for presentation in a theatre. The text of terms for presentation in a theatre. The text of play is a blueprint requiring the skills of a play is a blueprint requiring the skills of a director, designers, actors and stage-hands to director, designers, actors and stage-hands to bring it to life on-stage.bring it to life on-stage.

A fine play and production, however, generate A fine play and production, however, generate their own interest and will probably win you their own interest and will probably win you over irrespective of your mood. over irrespective of your mood.

Most playwrights stick to familiar ground and Most playwrights stick to familiar ground and do not switch from tragedy to zany farce or codo not switch from tragedy to zany farce or comedy; a new play by Alan Ayckbourn is mostlmedy; a new play by Alan Ayckbourn is mostly likely to be another light domestic comedy.y likely to be another light domestic comedy.

It is the critic’s job not only to assess the actorIt is the critic’s job not only to assess the actors’ performances and the effectiveness of the prs’ performances and the effectiveness of the production, but also to comment on matters of geoduction, but also to comment on matters of genre and to locate the play in its period. nre and to locate the play in its period.

When you go to a performance you should be When you go to a performance you should be aware that every single thing you see and hear aware that every single thing you see and hear on stage has been carefully pre-planned—the con stage has been carefully pre-planned—the colour of a particular dress, the exact moment at olour of a particular dress, the exact moment at which a cigarette is lit or a drink taken, and whwhich a cigarette is lit or a drink taken, and whether a character stands or sits. Nothing happeether a character stands or sits. Nothing happens by chance.ns by chance.

Stage lighting is also important in a Stage lighting is also important in a production, though paradoxically the more production, though paradoxically the more effective it is the less it draws attention to effective it is the less it draws attention to itself. The basic purpose of stage lighting is to itself. The basic purpose of stage lighting is to illuminate the actors and the stage and inform illuminate the actors and the stage and inform an audience of such obvious matters as an audience of such obvious matters as daylight, moonlight, tropical or arctic daylight, moonlight, tropical or arctic conditions. conditions.

It is also helpful to be aware of the patterns of It is also helpful to be aware of the patterns of stage grouping made by the actors on-stage. stage grouping made by the actors on-stage. This is a highly skilled business, which is the This is a highly skilled business, which is the province of the director. It is his job to ensure province of the director. It is his job to ensure that the cast are displayed on-stage to the best that the cast are displayed on-stage to the best advantage, and that in their moves across the advantage, and that in their moves across the stage they do not conceal or bump into each stage they do not conceal or bump into each other.other.

Metaphor and allegory are potent weapons in the Metaphor and allegory are potent weapons in the hands of a playwright. hands of a playwright.

Acting styles change with theatre buildings, but what Acting styles change with theatre buildings, but what has not altered is the basis of all acting, crating and has not altered is the basis of all acting, crating and presenting a character other than oneself. How is it presenting a character other than oneself. How is it achieved depends on the society and conventions of achieved depends on the society and conventions of the time, but the effectiveness and power of such a the time, but the effectiveness and power of such a creation has been recognized since the dawn of time-creation has been recognized since the dawn of time-acting is as old as man himself. acting is as old as man himself.

The actor’s changing status –from a lower The actor’s changing status –from a lower status to be acceptable in polite society (p. 32-status to be acceptable in polite society (p. 32-35).35).

Acting styles have changed considerably since Acting styles have changed considerably since the time that Henry Irving dominated the the time that Henry Irving dominated the stage. Irving believed that acting was for stage. Irving believed that acting was for displaying the great passions; he concentrated displaying the great passions; he concentrated on spectacular productions of Shakespeare and on spectacular productions of Shakespeare and gave riveting performances of melodrama.gave riveting performances of melodrama.

A new form of naturalistic drama began to A new form of naturalistic drama began to appear around 1900. Plays were written in a appear around 1900. Plays were written in a more relaxed style and acting changed to more relaxed style and acting changed to reflect this elegance and naturalness. Art reflect this elegance and naturalness. Art concealed art and the actor appeared not to be concealed art and the actor appeared not to be acting at all but simply behaving naturally.acting at all but simply behaving naturally.

In the 1920s and early 1930s, theatre audiences In the 1920s and early 1930s, theatre audiences needed laughter and light entertainment. So the needed laughter and light entertainment. So the easy naturalistic style of acting continued. easy naturalistic style of acting continued.

In the later 1930s came a renewed interest in In the later 1930s came a renewed interest in Shakespeare and the classics, with the acting Shakespeare and the classics, with the acting of such up-and-coming stars. Acting again of such up-and-coming stars. Acting again became powerful and physical, but this time became powerful and physical, but this time without the Victorian melodramatic bombast.without the Victorian melodramatic bombast.

In modern times, particularly in the 1960s and In modern times, particularly in the 1960s and 1970s, acting has undergone a further radical 1970s, acting has undergone a further radical change reflecting the contemporary permissive change reflecting the contemporary permissive society. society.

There are two kinds of actor. First, there is the There are two kinds of actor. First, there is the character actor who disguises his appearance character actor who disguises his appearance and attempts a series of widely different roles and attempts a series of widely different roles and secondly there is the actor who is a ‘self-and secondly there is the actor who is a ‘self-impersonator’, one who, no matter what part impersonator’, one who, no matter what part he plays, always presents himself.he plays, always presents himself.

The essence of acting is communication. The The essence of acting is communication. The measure of an actor’s skill is the vividness of measure of an actor’s skill is the vividness of his portrayal and how indelibly he imprints the his portrayal and how indelibly he imprints the thoughts and feelings of his role on the minds thoughts and feelings of his role on the minds of his audience. The greatest acting parts are of his audience. The greatest acting parts are those in which the character experiences a those in which the character experiences a variety and depth of emotion. variety and depth of emotion.

Tragedy provides the actor with the greatest Tragedy provides the actor with the greatest possible scope for great acting; comedy possible scope for great acting; comedy contain fewer opportunities to run the gamut contain fewer opportunities to run the gamut of emotion. Furthermore, comedy usually of emotion. Furthermore, comedy usually contains more than one leading role; there is contains more than one leading role; there is seldom single, towering figure around whom seldom single, towering figure around whom the play revolves. the play revolves.

The essential attributes of a good actor are a The essential attributes of a good actor are a warm heart and a cool head. Great acting is warm heart and a cool head. Great acting is the result of these two attributes. The cool the result of these two attributes. The cool head contributes the technique which transmits head contributes the technique which transmits the emotional responses of the heart, but never the emotional responses of the heart, but never allows the passion to take over or run away allows the passion to take over or run away with itself and the performance.with itself and the performance.

The producer’s job is to set up the production, The producer’s job is to set up the production, a task which is largely administrative and a task which is largely administrative and financial. The artistic direction of the play is financial. The artistic direction of the play is in the hands of the director alone.in the hands of the director alone.

Ancient Greece and RomeAncient Greece and Rome

Performance of drama in ancient Greece were Performance of drama in ancient Greece were vivid affairs; they were religious and civic vivid affairs; they were religious and civic occasions to which the entire community occasions to which the entire community flocked. Plays were only performed on special flocked. Plays were only performed on special occasions at great festivals lasting from dawn occasions at great festivals lasting from dawn to dusk, and several days at a time.to dusk, and several days at a time.

Although all Greek cities were thought to Although all Greek cities were thought to possess their own theatres, Athens was pre-possess their own theatres, Athens was pre-eminent and all the plays that has come down eminent and all the plays that has come down to us are Athenian. All the parts were played to us are Athenian. All the parts were played by men, for no women were allowed on the by men, for no women were allowed on the Greek stage.Greek stage.

A Greek play consists of a series of episodes, A Greek play consists of a series of episodes, which relate the plot of the play, alternating which relate the plot of the play, alternating with choral odes by a chorus ranging in with choral odes by a chorus ranging in number from fifteen to fifty.number from fifteen to fifty.

All the actors wore large masks and special All the actors wore large masks and special costumes. Moreover, the plots were extremely costumes. Moreover, the plots were extremely well known to the audience, being take from well known to the audience, being take from familiar stories of the exploits of the gods and familiar stories of the exploits of the gods and goddesses and legendary heroes. goddesses and legendary heroes.

Greek dramatists used familiar legends and Greek dramatists used familiar legends and tales to reflect contemporary individual or tales to reflect contemporary individual or community problems. Their plays dealt community problems. Their plays dealt objectively with human behavior. Greek objectively with human behavior. Greek comedy has been described as obscene, and comedy has been described as obscene, and certainly to some people the ubiquitous use of certainly to some people the ubiquitous use of huge replicas of the male sexual organ might huge replicas of the male sexual organ might be considered objectionable.be considered objectionable.

Greek theatresGreek theatres

The very earliest Greek theatres were simply lThe very earliest Greek theatres were simply levelled spaces in the open air, roughly circular,evelled spaces in the open air, roughly circular, at the foot of some convenient hillside which at the foot of some convenient hillside which provided the grandstand from which the onlooprovided the grandstand from which the onlookers watched. kers watched.

Greek tragedy offered quality, the Romans offGreek tragedy offered quality, the Romans offered quantity. Drama had to compete with extered quantity. Drama had to compete with extremely popular circus-type entertainments and remely popular circus-type entertainments and mime shows.mime shows.

Roman comedy is far more important and interRoman comedy is far more important and interesting; it dispensed with the chorus and choral esting; it dispensed with the chorus and choral odes, resulting in comedy of a more narrative aodes, resulting in comedy of a more narrative and naturalistic structure.nd naturalistic structure.