TAFS232-12S2 (C) Semester Two 2012
Theatre: Realism and Beyond

Description

In this course, we investigate the idea of imitation of life and representation in theatre, from European Naturalism to contemporary New Zealand drama.  For 2012, we will begin by looking at how, in the late 19th century, European theatre artists and theorists borrowed scientific concepts and processes, experimenting both with form and content in order to create a new, socially aware theatre – one in which issues of class and gender are intimately intertwined.  In particular, we will explore the role of 19th century theories of evolution and environment in provoking innovations in dramatic action, on the work of actor and the director, and in the heightened impact of stage, lighting and costume design on the theatrical experience.  From our consideration of late 19th and early 20th century realist drama in the plays of Ibsen, Strindberg, Chekhov and Shaw, we then turn to what might be seen as the anti-realist experiments of Brecht and Beckett.  The second half of the course begins with an analysis of two key feminist plays from the USA, Trifles by Susan Glaspell and Fefu and her Friends  by Maria Irene Fornes.  We then look to see how signal theatre works by New Zealand playwrights can be seen both to build upon and to depart from these earlier models to represent and shape their audiences’ views of the way we live here and now.  Throughout the semester, students will be rehearsing scenes from one of our core realist playtexts using a technique based on Uta Hagen’s Respect for Acting.

Pre-requisites

Restrictions

Recommended Preparation

For further information see Theatre and Film Studies on the department and colleges page.