Theatre and Its Double

Constantin Stankislavski and Uta Hagan are considered to be two greats in the art of acting. After reading the excerpts from the packet, and the chapters in the book it is really understandable as to why they are so respected in this art. When taking a look into their work there are some similarities about their craft and technique, however there are also some differences, as Utah Hagen branched out as did many others. In this paper, I’ll be taking a look at where these pioneers of their craft share similar methods, and where they differentiate in the use of their technique.

Above all, I wouldn’t be where I am today without theatre. Without the chance to perform throughout my life, I would be disconnected from the wide array of communities and histories that’s been imbedded in my daily routine. Unfortunately, it’s speculated that the theatre is a dying art form, because of the expanding popularities of movies (“Is”), but I think that it’ll remain a well renowned part of expressing imagination and interpreting history as years pass; it only takes cooperation with school faculty and young students that go above and beyond to change their

Theatre is a complex art that attempts to weave stories of varying degrees of intricacies with the hope that feelings will be elicited from the audience. Samuel Beckett’s most famous work in the theatre world, however, is Waiting for Godot, the play in which, according to well-known Irish critic Vivian Mercier, “nothing happens, twice.” Beckett pioneered many different levels of groundbreaking and avant-garde theatre and had a large influence on the section of the modern idea of presentational theatre as opposed to the representational. His career seemingly marks the end of modernism in theatre and the creation of what is known as the “Theatre of the Absurd.”

“…Then you realise that theatre is a more personal experience.” (Stephen Atkins, Dante’s Inferno Director) After viewing Zen Zen Zo’s physical theatre reincarnation of the

Leigh’s statement that ‘The edge of the stage is not an invisible boundary over which the actor must never step but a garden wall across which the actor gossips and flirts with the public as if they were neighbours’ seems to have captured the very essence of audience acknowledgement that is so present in the play Pseudolus. Neither cast nor script of this comedy by Plautus seems particularly bothered by any notion of the fourth wall, and the play is rife with both blatant and subtle character acknowledgement of the audience. Indeed the notion that the fourth wall is some sort of impenetrable barrier between performer and audience seems absurd when one examines the aims of theatre and performance as a whole, and Pseudolus circumvents and breaches this supposed barrier with a variety of means

"A Philosophy of Theater « " East of Mina. N.p., n.d. Web. 19 Jan. 2011.

For decades people found theatre one of the most enjoyable form of entertainment all across the world. With every play comes a cost. A value which somebody's story is told. Obviously it can be comic drama or despairing,. Each second of these plays are genuinely delightful and exceptional. Where the performing artists show a totally distinctive side of characters to the group of onlookers where they demonstrate to them something new and pleasurable. And behind the theatre and its plays is one person who keeps it all in check and that is the director. The director is like the heart of a person. You don’t see the heart but you know if it’s doing its job correctly

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

Doerries diminishes the theater and its patrons by stating “people attend the theater…to feel more intelligent than they actually are” (Freedlander). Doerries appears to be drawing on the audience’s lack of knowledge as a basis to form and direct a conversation using an abstract to accomplish his goal. This is demeaning to a culture that has an understanding of the issues. This article is inflammatory and insults the intellect of the

“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

The history of theatre in the 18th, 19th, and 20th centuries is one of the increasing commercialization of the art, accompanied by technological innovations, the introduction of serious critical review, expansion of the subject matters portrayed to include ordinary people, and an emphasis on more natural forms of acting. Theatre, which had been dominated by the church for centuries, and then by the tastes of monarchs for more than 200 years, became accessible to merchants, industrialists, and the less privileged and then the masses.

Academic and artistic interest in something is usually a sure sign that matters are unclear, conceptual boundaries are blurred and that old certainties are anything but that. There is also little doubt that the major challenges we face: the media revolution, globalization and migration, climate change, the erosion of public finances and services (to name just a few) – have all in some way a bearing on the public sphere, the realm where issues are debated and where citizens are free to enter and engage in discourse. As the public sphere is primarily a discursive arena located outside and between state bureaucracies on the one hand and economics and business on the other, it occupies a crucial role in the functioning of so-called free societies. The question to be explored here is what role theatre and performance in practice play in this realm and how performance and theatre theory can contribute to the debates.” (Balme

In today's busy world, people usually struggle to find time for fun and a way of relaxation but when it happens, they often spend it on entertainment. One of those forms of entertainment is watching stage or film productions. Theatre and film have lots of aspects in common and depend on each other, however, they involve differences. People choose between theater and film based on factors and their own preferences. The purpose of this essay is to compare and contrast between those two forms of art.