Critical
review covers three things:
1. Performance analysis
2. Script analysis
3. Study of theories
There is
no original concept, the idea can be original. But that idea is also derived
from something already known. Newton didn’t get gravity until the apple fell
from the tree. It could be that basic and the idea could be huge, but the apple
gave Newton the idea. That also was derived.
PERFORMANCE
ANALYSIS:
1. Script, who and when wrote it.
The socio economic and political state. And what was the audience then.
2. Audience reaction and effects.
3. Purpose of playwright writing
play vs director’s interpretation.
4. Theories used in performance.
5. Dramatic aspect – method,
movement, gestures.
6. Directions given – dialogue
delivery, entry and exit (even midway between dialogues).
7. Timings – dialogues, movements,
speed.
8. Blocking patterns.
9. Interaction between characters.
10. Use of props and costume, why and
what.
11. Ironic element.
12. Structure of the play (sequence
of events)
13. Key plot device (basic motive)
14. Dramatic trope – use of
figurative language, clichés, proverbs.
15. Effect on audience – Creating
intrigue, tension, and suspense.
The above
points mentioned cover the whole spectrum of performance analysis. Your review
might not even have half of them and that’s okay, but what you do analyze
should be explained well.
Misc-en-scene:
the arrangement of scenery and stage properties in the play. The setting or
surroundings of an event.
Misc-en-abyme:
a play within a play or a film within a film.
Performance
types:
1. Classical
2. Modern – after Industrial
Revolution
3. Contemporary
THEATRICALITY:
·
No
particular definition or summary.
·
Postel
Wait and Tracey are working on this concept.
·
Cultural
and social importance of the play is talked about here.
·
The
author’s self conscious perception.
·
Audience
viewpoint for the play.
·
Naturalizes
the illusion of non-meditated representation.
·
Capacity
to absorb art forms.
·
Mode
of representation or style of behavior characterized by histrionic movements,
actions, manners, and devices.
·
Aesthetic
and philosophical value of the play.
·
Underlying
meaning or hidden meaning of play interpretation.
Dramatic
metaphor: Tool or technique used by author/director to have form of double
talk, what is shown both hides and reveals hidden.
ABSURD
THEORY:
I.
After
world war II people started to doubt everything in their life and hence this
emerged in theatre art.
II.
Removal
of hope and positive future, absurd plays end in death.
III.
No
narrative or basic story.
IV.
Props
and sets are absurd too, exaggerated.
V.
Time
and space are not coherent.
VI.
Characters
lose their identity through the course of the play.
VII.
You
cant really define each role.
VIII.
You
cant even judge characters.
IX.
You
cant narrate the play because it doesn’t make sense.
X.
Gestures,
movements and attitude is important.
XI.
Set
should be miraculous, impeccable. And meticulously made.
XII.
Need
to create a spectacle.
XIII.
Miming
gestures, clown acting, visual elements are rich, with a nice play of sound and
lights.
XIV.
Feeling
of suffering, solitude, catastrophe. But this tragic element will be hidden and
has to be found.
EVALUATING
THEATRE:
1) Performance –
a. Conclusion
b. Narrative
c. Plot
d. Genre
e. Style
2) Catharsis –
a. Symbolic element
b. Abstract
c. Naturalistic
INTERTEXTUALITY:
Ø
all
performances are analyzed intertextually
Ø
deja-vu
feeling
Ø
a
performance is always linked to some other
Ø
there
is always a background
Ø
audience
view with their own subjectivity and experience
Ø
event
should be documented for it to be intertextual
IMPROVISATION:
v
even
before the written plays, there was just a plot or story known and it was acted
v
then
came in Commedia del arte in 1500s throughout Europe. There were make shift
stages, masks and through pictures
v
the
story or the plot was taken from the stone drawings, or parchments etc.
v
20th
century USA it was reinvented because the theatre wasn’t available to everyone
in the society and it needed a broader audience so:
o
Keith
Jenner : he felt that the audience needs to be widened and in USA everybody
follows sports a lot so he did his plays on football fields etc. He
incorporated it into sports.
o
Viola
Spolin : she incorporated theatre into children’s minds. She worked a lot for
children’s theatre. She felt there was a need of new generation which would
think of theatre as an integral form of art.
GREEK
TRAGEDY:
i.
Depicts
downfall of a noble person, hero or heroine. Noble means good person.
ii.
Tragic
hero has to achieve some goal and encounters limits due to human weakness,
weakness in society or due to gods/ fate/ oracles or even nature.
iii.
Tragedy
evokes pity in a person.
iv.
Aristotle
said – tragic hero should’ve a flaw. He should make a mistake. He need no die
in end but must undergo change in fortune; may achieve some revelation/
recognition/ meaning that he learns a lesson, learns something about human
fate/ destiny/ will of Gods. A chance from ignorance to awareness of a bond of
love or hate.
v.
Tragedy
is superior to comedy. Comedy men are lower type of persons.
vi.
6
key elements in tragedy:
a. Plot – should be universal –
beginning, middle and end. Astonishment, identification, ironic twist for
audience, gaining knowledge, suffering. All should be there.
b. Character – as explained above.
Stereotypical, manly valor, very good, chivalry
c. Diction/ language – should be of
high class
d. Thought – realization /
revelation
e. Spectacle – beautiful looking,
WOW factor
f. Song
vii.
Key
plot device should be constant throughout.
POETICS
by ARISTOTLE:
Aristotle
believed that a good poem is a medium of imitation and represent or duplicate
life through character/ emotion/ action.
A. Epic poetry – written in open
verses on noble people.
B. Tragedy
C. Comedy
D. Dithrambic – verses or hymns.
Based on God Diorrysis. Poet is the only speaker.
E. Music
