Monday, November 30, 2009

Happy 174th Birthday, Mark Twain



http://blogs.riverfronttimes.com/dailyrft/2009/11/happy_174th_birthday_mark_twain.php



twainpic.JPG
Samuel Langhorne Clemensa.k.a. Mark Twain, was born on this day in 1835.

Arguably America's greatest writer and certainly the finest from Missouri, Twain grew up in Hannibal. But did you know his birthplace was the even tinier town ofFlorida, Missouri?

In 2000, the Census recorded just 9 residents living in Florida -- a significant decline since Twain's birth in the mid-1800s.

Wrote Twain of his birthplace:
"The village contained a hundred people and I increased the population by 1 per cent. It is more than many of the best men in history could have done for a town."


Wednesday, October 28, 2009

Sinner Man



Tuesday, October 6, 2009

The Marx Brothers

Clip from "Duck Soup" Physical comedy is always the funniest. A simple hat trick, and a leg up made us all laugh hysterically today in rehearsal.

Wednesday, September 16, 2009

"Shaped-Note" Singing or "Fasola" Singing

During yesterday's meeting we touched briefly on music. We spoke about O Brother Where Art Thou and the influence music held over that movie. I couldn't help but be reminded of a piece I sang 3 years ago in choir entitled, "David's Lamentation" by William Billings. The piece featured a style of singing called "shape note" singing.

"Shape note" singing is a style which stems from the deep colonial south. The style is based on a way of composing music. In it, notes are given a different shape based on where they are located on the scale. Here is an example:
The style was developed as a way for music students to learn to read music more easily. Although this is often confusing for people who already know how to read music, studies have shown that the form actually does work. (McGill, Lynn D. 1968. A Study of Shape-Note Music as a Resource and as a System of Teaching Music. M.A. thesis, University of Tennessee at Knoxville.)

The piece Idumea is a traditional piece for members of the Sacred Harp Singers to participate in. I say participate, because most of the events today are not in fact performances, but what they call "singings" in which members sit in a square, and each member is invited to take a turn choosing a song and leading the choir. These singings can last anywhere from an hour to all day. In colonial times, these songs would have been sung in singing schools with the express use being to teach members of the community to read music and sing.

You may have heard Shape-Note singing before in the movie Cold Mountain.
Here is the piece shown above:


Here is another piece from the a congregation in Michigan, in which you see that the congregation has been centered around the preacher, and are all pumping their arms up and down to keep time. The piece is sung with enthusiasm and in the traditional square assembly.



For more information, please visit http://fasola.org/, hosted by the Sacred Harp Musical Heritage Association.

or look for the movie which was released this year:

and to hear the piece I sang with my choir click here.

Monday, September 14, 2009

Meet Our Devising Group!

Directed Of Course by the Wonderful Margaret Larlham

Actors Devising (THEA 329A) :
Nathan Bell
DeAndre Clay
Tyler Hastings
Danielle Lazarakis
Megan Stogner
John Smith
Clarissa Thibeaux

Music Composition: Thomas Hodges
Dramaturgy: Alicia-Marie Hutchinson
Scripting Assistant: Ace Nevarez

*The first meeting will be held on Tuesday @5:00 pm. Please check back here or on the Theatre Notice Board tomorrow for the location, and bring your schedules so we can figure out the best meeting times.

There were so many talented people to chose from, it was a hard decision, but here it is! Thank you to everyone who auditioned!

Also PLEASE NOTE that additional roles will be cast at Spring 2010 General Auditions.

Wednesday, September 9, 2009

Fall 2009 Callbacks

Callbacks will be on Thursday (9/9/09) at 5:00 pm in the Don Powell Theater.


Jen Abundez

Nathan Bell

DeAndre Clay

Sammie Davis

Rachel Dexter

Krista Feallock

Jeaneal Gunning

Tyler Hastings

Ryan Heath

Kevin Koppman-Gue

Danielle Lazerakis

Hannah Ledyard

Guy Robbins

Bradley Sattler

John Smith

Megan Stogner

Clarissa Thibeaux

Michael Tutino

Ed Rodriguez


* NOTE: Even if your name does not appear on this list, you may be included in the final Callback after Spring 2010 Generals.

Tuesday, July 7, 2009

Nelken

Choreographed By Pina Bausch (12/30/1982)
Nelken Homepage

"Nelken" translates into "Carnations" which is an appropriate name based on the set. The stage is covered with upright planted carnations, forcing the dancers to be careful where they step. It was first performed on December 30, 1982, in cooperation with Matthias Burkert and Hans Pop. The scenic design was by Peter Pabst, and Costume design by Marion Cito.

This was the fifth of her pieces credited to utilize a dramaturg. Raimund Hoghe was her dramaturg from 1979 to 1987, before becoming highly in demand as a dancer and performance artist. She has never worked with another Dramaturg.

The piece lasts two hours pieced into snippets of different imagery. Themes are the balance of power, fear and threat, and bounces between serious and absurd, through the use of childhood games, a signed song and the ever present threat of dancers walk guard dogs on patrol. At one point a guard asks a dancer dressed as a bunny for his passport, and only one he is satisfied, the bunny is allowed to continue hopping. The dancers not only talk on stage but talk about their roles as dancers and their performance, pushing away norms of performance.

Original performers include: Jacob Andersen, Anne Marie Benati, Bénédicte Billiet, Matthias Burkert, Lutz Förster, Kyomi Ichida, Urs Kaufmann, Ed Kortlandt, Anne Martin, Dominique Mercy, Jan Minarik, Nazareth Panadero, Helena Pikon, Hans Pop, Jean-Laurent Sasportes, Janusz Subicz, and Francis Viet.












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Cafe Muller

Choreographed By Pina Bausch (05/20/1978)

Cafe Mueller Homepage


The piece Cafe Muller was first presented in 1978, and most recently presented in New York City, in February 2008. The piece is 30 minutes long and origional scenic and costume design were by Rolf Borzik. In this piece Pina "drew on childhood memories of the cafe her parents ran," creating a piece comprising of 6 individuals and their tortured interactions. The pieces are physically demanding and often involve the movement of the various pieces of furniature and doors crowded onto the stage. The orgional performers were Malou Airaudo, Pina Bausch, Meryl Tankard,Rolf Borzik, Dominique Mercy, and Jan Minarik. Music was composed by Henry Purcell.









Pina Bausch

Pina Bausch is a German contemporary choreographer and dancer. She was born on July 27, 1940 in Solingen, Germany which is located in the middle of Germany and is known for manufacturing blades, knives and swrods. It's name means "City of Blades."

She began choreographing pieces in 1968 and to this day her work is considered a national asset and performances are attended by the German Federal President and Prime Minster. She has won 65 awards world wide including several from the Us as well as an Order Of Merit First Class form the President of the Federal Republic of Germany.

She is the leader of the Tanztheater style of dance based in the expressionist movement, along with her peer Susanne Linke. The style incorporates small amounts of dialogue as well as elaborate sets and costumes to create an often sureealsitic picture. At age 15, she began studying at the Folkwang Academy in Essen, studying the expressionist dance movement, before moving to New York and studying at Julliard five years later. She danced with the Donya Feuer Dance Company, New American Ballet and the Metropolitan Opera Ballet Company before moving back to Germany. There she danced with the Folkwang Ballett Company, and grew to become it's Artistic Director. In 1972, she became the Artistic Director of the Wuppertal Opera Ballet which was later renamed the Tanztheater Wuppertal Pina Bausch company. Pina Bausch has ben touring the world with this company ever since.

She was married to a costume and scenic designer by the name of Rolf Borzik, who passed away in 1980 and whom designed both the set and costumes on many of her pieces. Themes in her work are repition, and the interactions between males and females. She uses contemporary, classcal and even rock music to create a unique style. Her work has influenced dance worldwide and even inspired films such as the 2002 film by Pedro Almodovar entitled "Talk To Her."

She died this year (2009).









"Vollmond"/"Full Moon" - May 11, 2006





Pina Bausch's Website

"Bausch Meets Almodovar in New Film" By Susan Yung - danceinsider.coma

Suggested Reading List

Suggested By The Mark Twain House & Museum

Nook Farm: Mark Twain's Hartford Circle.
Andrews, Kenneth R.
Seattle: University of Washington Press, 1950

Mr. Clemens a Mark Twain: A Biography.
Kaplan, Justin.
New York: Simon & Schuster, 1966.

The Mark Twain Encyclopedia.
Lemaster, J. R. and James D. Wilson, ed.
New York: Garland Publishing, 1993.

Susy and Mark Twain Family Dialogues.
Salsbury, Edith, ed.
New York: Amereon House, 1965.

The Quotable Mark Twain: His Essential Aphorisms, Witticisms, & Concise Opinions
Rasmussen, R. Kent
Chicago: Contemporary Suggested Reading List, 1997.

Mark Twain A to Z.
Rasmussen, R. Kent.
New York: Oxford University Press, 1995.

Mark Twain's Letters 5 vols.
The Mark Twain Papers.
Berkeley: University of California Press, 1988.

Mark Twain's Own Autobiography: The Chapters from the North American Review.
Twain, Mark.
Madison: University of Wisconsin Press, 1990.

Monday, July 6, 2009

Mark Twain's Immediate Family Tree












source: The Mark Twain House and Museum
http://www.marktwainhouse.org/theman/twain_tree.pdf

Biography of Mark Twain aka Samuiel Clemens

Samuel Clemens/Mark Twain
1835-1910

As his literature provides insight into the past, the events of his personal life further demonstrate his role as an eyewitness to history. During his lifetime, Sam watched a young United States evolve from a nation torn apart by internal conflicts to one of international power. He experienced the country's vast growth and change - from westward expansion to industrialization, the end of slavery, advancements in technology, big government and foreign wars. And along the way, he often had something to say about the changes happening in America.

Samuel Clemens was born on November 30, 1835 in Florida, Missouri, the sixth of seven children. At the age of four, Sam and his family moved to the small frontier town of Hannibal, Missouri on the banks of the Mississippi River. Missouri, at the time, was a fairly new state (it had gained statehood in 1820) and comprised part of the country's western border. It was also a slave state. Sam's father owned one slave and his uncle owned several. In fact, it was on his uncle's farm that Sam spent many boyhood summers playing in the slave quarters, listening to tall tales and the slave spirituals that he would enjoy throughout his life.

In 1847, when Sam was 11, his father died. Shortly thereafter he left school, having completed the fifth grade, to work as a printer's apprentice for a local newspaper. His job was to arrange the type for each of the newspaper's stories, allowing Sam to read the news of the world while completing his work.

At 18, Sam headed east to New York City and Philadelphia where he worked on several different newspapers and found some success at writing articles. By 1857, he had returned home to embark on a new career as a riverboat pilot on the Mississippi River. With the outbreak of the Civil War in 1861, however, all traffic along the river came to a halt, as did Sam's pilot career. Inspired by the times, Sam joined a volunteer Confederate unit called the Marion Rangers, but he quit after just two weeks.

In search of a new career, Sam headed west in July of 1861, at the invitation of his brother, Orion, who had just been appointed Secretary of the Nevada Territory. Lured by the infectious hope of striking it rich in Nevada's silver rush, Sam traveled across the open frontier from Missouri to Nevada by stagecoach. Along the journey Sam encountered Native American tribes for the first time as well as a variety of unique characters, mishaps and disappointments. These events would find a way into his short stories and books, particularly Roughing It.

After failing as a silver prospector, Sam began writing for the Territorial Enterprise, a Virginia City, Nevada newspaper where he used, for the first time, his pen name, Mark Twain. Wanting a change by 1864, Sam headed for San Francisco where he continued to write for local papers.

In 1865, Sam's first "big break" came with the publication of his short story, "Jim Smiley and His Jumping Frog" in papers across the country. A year later, Sam was hired by the Sacramento Union to visit and report on the Sandwich Islands (now Hawaii). His writings were so popular that, upon his return, he embarked upon his first lecture tour, which established him as a successful stage performer.

Hired by the Alta California to continue his travel writing from the east, Sam arrived in New York City in 1867. He quickly signed up for a steamship tour of Europe and the Holy Land. His travel letters, full of vivid descriptions and tongue-in-cheek observations, met with such audience approval that they were later reworked into his first book, The Innocents Abroad in 1869. It was also on this trip that Clemens met his future brother-in-law, Charles Langdon. Langdon reportedly showed Sam a picture of his sister, Olivia, and Sam fell in love at first sight.

After courting for two years, Sam Clemens and Olivia (Livy) Langdon were married in 1870. They settled in Buffalo, New York where Sam had become a partner, editor and writer for the daily newspaper the Buffalo Express. While living in Buffalo, their first child, Langdon Clemens was born.

In an effort to be closer to his publisher, Sam moved his family to Hartford, Connecticut in 1871. For the first few years the Clemenses rented a house in the heart of Nook Farm, a residential area that was home to numerous writers, publishers and other prominent figures. In 1872, Sam's recollections and tall tales from his frontier adventures were published in his book, Roughing It. That same year the Clemenses' first daughter Susy was born, but their son, Langdon, died at the age of two from diphtheria.

In 1873, Sam's focus turned toward social criticism. He and Hartford Courant publisher Charles Dudley Warner co-wrote The Gilded Age, a novel that attacked political corruption, big business and the American obsession with getting rich that seemed to dominate the era. Ironically, a year after its publication, the Clemenses' elaborate, $40,000. 19-room house on Farmington Avenue was completed.

For the next 17 years (1874-1891), Sam, Livy and their three daughters (Clara was born in 1874 and Jean in 1880) lived in the Hartford home. During those years Sam completed some of his most famous works. Novels such as The Adventures of Tom Sawyer (1876) and Life on the Mississippi (1883) captured both his Missouri memories and depictions of the American scene. Yet, his social commentary continued. The Prince and the Pauper (1881) explored class relations as does A Connecticut Yankee in King Arthur's Court (1889) which, going a step further, criticized oppression in general while examining the period's technology explosion. And, in perhaps his most famous work, Adventures of Huckleberry Finn (1884) Clemens satirized the institution of slavery and railed against the failures of Reconstruction and the continued poor treatment of African-Americans overall.

Huckleberry Finn was also the first book published by Sam's own publishing company, The Charles L. Webster Company. In an attempt to gain control over publication as well as to make substantial profits, Sam created the publishing company in 1884. A year later, he contracted with Ulysses S. Grant to publish Grant's memoirs; the two-volume set provided large royalties for Grant's widow and was a financial success for the publisher as well.

Although Sam enjoyed financial success during his Hartford years, he continually made bad investments in new inventions, which eventually brought him to bankruptcy. In an effort to economize and pay back his debts, Sam and Livy moved their family to Europe in 1891. When his publishing company failed in 1894, Sam was forced to set out on a worldwide lecture tour to earn money. In 1896, tragedy struck when Susy Clemens, at the age of 24, died from meningitis while on a visit to the Hartford home. Unable to return to the place of her death, the Clemenses never returned to Hartford to live.

From 1891 until 1900, Sam and his family traveled throughout the world. During those years, Sam witnessed the increasing exploitation of weaker governments by European powers, which he described in his book, Following the Equator (1897). The Boer War in South Africa and the Boxer Rebellion in China fueled his growing anger toward imperialistic countries and their actions. With the Spanish-American and Philippine War in 1898, Sam's wrath was redirected toward the American government. When he returned to the United States in 1900, his finances restored, Sam readily declared himself an anti-imperialist and, from 1901 until his death, served as the vice president of the Anti-Imperialist League.

In these later years, Sam's writings turned dark. They began to focus on human greed, cruelty and questioned the humanity of the human race. His public appearances followed suit and included a harshly sardonic public introduction of Winston Churchill in 1900. Even though Sam's lecture tour had managed to get him out of debt, his anti-government writings and speeches threatened his livelihood once again. Labeled by some as a traitor, several of Sam's works were never published during his lifetime either because magazines would not accept them or because of a personal fear that his marketable reputation would be ruined.

In 1903, after living in New York City for three years, Livy became ill and Sam and his wife returned to Italy where she died a year later. After her death, Sam lived in New York until 1908 when he moved into his last house, "Stormfield", in Redding, Connecticut. In 1909, his middle daughter Clara was married. In the same year Jean, the youngest daughter, died from an epileptic seizure. Four months later on April 21, 1910, Sam Clemens died at the age of 74.

Like any good journalist, Sam Clemens/Mark Twain spent his life observing and reporting on his surroundings. In his writings he provided images of the romantic, the real, the strengths and weaknesses of a rapidly changing world. By examining his life and his works, we can read into the past - piecing together various events of the era and the responses to them. We can delve into the American mindset of the late nineteenth century and make our own observations of history, discover new connections, create new inferences and gain better insights into the time period and the people who lived in it. As Sam once wrote, "Supposing is good, but finding out is better."

From the Mark Twain House and Museum
http://www.marktwainhouse.org/theman/bio.shtml

Claymation Adventures

Clips from the 1985 claymation movie entitled "The Adventures of Mark Twain.

The first clip is very creepy, and the entire production was banned from TV.




Sunday, July 5, 2009

Read 4 Free

Hello!

These works have been downloaded from sites across the web. I have only been able to set them up for download, however if you cannot download them and need the url from whihc I found them please contact me and I will send you the site information as soon as possible.

Thanks!
marie@mariecoffey.com


*The copyright laws on all works have expired.

"Modern Man" Performed by George Carlin

Video from The John F. Kennedy Center for the Performing Arts on November 10, 2008, a 90-minute presentation of the Mark Twain Prize honoring George Carlin.


Welcome

Welcome to the blog dedicated to the SDSU Theatre Departments involvement in Mark Twain's Centenary Tribute. If you haven't heard, San Diego State University is participating in a year long event dedicated to Mark Twain and all of his accomplishments. The SDSU Theatre and Library Departments will be hosting a play written by Margaret Larlham for the Theatre of Youth. The production will be presented as part of the annual Theatre of the World Festival in 2010.

If you are new to Margaret's process then you may not know that the play has yet to be written. Over the coming months we will be exploring what it was to live in the times of Mark Twain, both within and without his adventurous stories. Only once we have discovered the beauty and truth of the subject, will Margaret sit down and write a story which will be presented for the students, adults and children alike throughout San Diego.

Throughout this process please feel free to follow the blog, leave comments with your views on the subject and email me any info you think is missing or want to learn more about at marie@mariecoffey.com

The play will be performed March 12, 13, 18 at 8pm; March 17, 19 at 10am; March 20 at 4pm; March 14, 21 at 2pm.

Wednesday, May 20, 2009

The Cabinet of Dr. Caligari

Post Inspired by Theatre 460B

Directed by Robert Weine (Germany, 1920)
Example of German Expressionistic Film along with Nosferatu and The Golem


Machinal By Sophie Treadwell

Post inspired by Theatre 460B



Who is Sophie Treadwell:
Ms. Treadwell was born in 1885. She earned a degree in French from UC Berkeley in 1902 while pursuing both acting and writing simultaneously. After graduation, she began writing for the San Francisco Bulletin, the Harper’s Weekly and the New York Tribune in addition to others.

During WWI she acted as one of the world's first female war correspondents as well as being "the only journalist permitted to interview Pancho Villa at his hideaway in Canutillo during the Mexican Revolution."

Sophie Treadwell wrote Boradway plays such as Gringo, O Nightingale, Machinal, Ladies Leave, Lone Valley and Plumes in the Dust. "Machinal, which is loosely based on the famous murder trial of Ruth Snyder and Judd Gray, is considered the best in her oeuvre. The play first opened on Broadway in 1928 and featured a young Clark Gable. Treadwell also penned the novels, Hope for a Harvest and One Fierce Hour and Sweet. In 1970, she died in Tucson Arizona and the majority of her works and papers were donated to the University of Arizona."

Sophie Treadwell's Mission:
Machinal is distinct amoung plays for many reasons, one of which is the mission which she has stated at the beginning of the Play. It s divided into three parts: The Plot, The Plan and The Hope.

The language which Sophie uses even in this introduction is used to support the premis. Although the play is based on the murder trial of Ruth Snyder, the play states that this could be "any woman," and the play continues to refer to the main character as simply "Young Woman."

The play is entirely expressionistic. The rhythms and speech patterns as well as any thought processes are unlike anything we would hear out of the mouths around us. It is entirely from within the head and unconcious.

Expressionism was used ironically to showcase the ugliness or true beauty in life through the unrealistic. Using the out of the norm concepts to face true reality.

The play is written in a time when machinery and technology was booming. People were increasingly expected to work in a mechanical manner (i.e. assembly lines) and and were asked on a daily basis to conform to the norm.

The play asks questions about human nature verus machine and how the expectaions of our society shape our lives. This is a question which is still explored today. (Dollhouse anyone? If you haven't figured out by now that I am a fan.)



"The mechanization of labor and its correlation with war created a sense of impersonal conformity and an intense fear that somehow the machine would consume humanity." We still deal with that fear. Terminator, Dollhouse, The Matrix.

Ms. Treadwell furthers this point by never refering to any of the character by their individual names. Instead they are refered to by the job, or relation to those around them. (Sidenote: Refering to people by their occupations has been done for thousands of years, resulting in last names such as Smith, and Thatcher.)



Source:
http://www.montclair.edu/Arts/oeco/images/Machinal.pdf

Elucidate

  • verb, dat-ed, dat-ing
  • to make lucid or clear; throw light upon; explain

Other References:
  • the name of and American Trance music duo (http://www.elucidatemusic.com/)
  • the name of a web design company (http://elucidate.net/)
  • Storefront Cleaning Service (http://elucidate.biz/)
  • A retail and distribution company (http://www.ideallc.com/elucidate/)

Sunday, May 3, 2009

Krishna

Inspired by the "Cry of The Tiger" writing process

Wikipedia Page
Chicago Scholarly Review
Hinduism and It's Spiritual Masters By William Stoddart


Krishna (कृष्ण in Devanagari, kṛṣṇa in IAST, pronounced [ˈkr̩ʂɳə] in classical Sanskrit) is a deity worshiped across many traditions in Hinduism. He is considered to be both an avatar of Vishnu, and the supreme being.

Krishna is the eigth avatar of Vishnu, and is depicted as a young boy playing a flute as in the Bhagavata Purana. Krishna the avatar is a paradoxical god because while he is a supreme being, he often obtains his goal through dishonest and manipulative means. How are followers of Hinduism then to reconcile the misbehavior of their god in relation to the moral behavior they are supposed to demonstrate in their own lives.

Krishna is worshiped by not only Hindus but Buddhists and other religions as well.

Demeter

Inspired by the "Cry of The Tiger" writing process

Wikipedia Page
Who's Who in Classical Mythology By Michael Grant and John Hazel

Demeter (pronounced /dɨˈmiːtər/; Greek: Δημήτηρ, lit. translates into Mother Earth. She was identified with her own mother Rhea, Ceres in the Roman Empire, Isis in Egypt and Cybele in Phrygian myth.

Demeter is the Earth Goddess, and patroness of fertility, the bringer of the seasons and patroness of the Eleusinian Mysteries. She is one of the twelve main Olympic Gods and on of the six Children of Rhea and Cronos. Zeus was both her brother and the father of her daughter Persephone (Proserpina in Rome).

In Greek mythology, is the Goddess of grain and fertility, the pure. She nourishes the youth and the green earth, the health-giving cycle of life and death, and preserver of marriage and the sacred law.

He life and worship is heavily associated with the story of her daughter Persephone and the resulting marriage.

Tuesday, April 7, 2009

The Use of Song in Brechtian Pieces

Post Inspired by Theatre 460B and The Good Person of Szechwan

Brecht not only wrote, directed and produced plays, but created poetry as well. He wrote songs and poems for almost all of his productions, mostly in collaboration with Kurt Weill. If you are a musical theatre lover you know that music is used when words are not simply enough to express emotion or feeling. Brecht used the songs within his plays as a way of de-familiarizing the audience, when words alone would not do so. Songs spring up out of the blue as a way of making audience members pay attention to particularly important subject matter or perhaps even subject matter that is so commonplace, that the only way to think of it in a new way is to do so through song.

"For example, in Mother Courage and Her Children; the songs' content may be serious and forewarning of hardships, while the music is happy and light. It shows a lighter side to a deeply serious situation. The dichotomy and ambiguity of it ultimately shows the audience a new way to understand the subject matter and makes them question the social realities that are being presented."
The Drama Review 43.4 (1999) 77-85. Copyright © 1999 New York University and the Massachusetts Institute of Technology.

The goal of using these songs and poems is to shed light upon the norms of social construct within theatre, which will in turn lead to audience to then see the same social framework in the world around them. In Brecht's opinion, this framework was not immovable and permanent but could instead be built by individual people, similar to the world within a play is created. Once a person can see the ever changing nature of society as a whole, they are able to see the ways in which they can change that world to make it better.

Sources:
The Drama Review 43.4 (1999) 77-85. Copyright © 1999 New York University and the Massachusetts Institute of Technology.
DJ Hopkins

Wednesday, March 25, 2009

Brecht's Theories On Theatre

Post Inspired by Theatre 460B and The Good Person of Szechwan

Bertolt Brecht was a visionary in theatre, envisioning an approach to theatre through which we see the actual world of actors on a stage, instead of being swept away by the plot-line. Throughout the 1920's to the 1950's before dying in 1956, Brecht used theatre as a running social commentary on life, political beliefs and social reform. This went against all the current views of the time. Audiences then and still now, used theatre to escape from the harsh realities of life.

"The purpose of the play was to awaken the spectators' minds so that he could communicate his version of the truth." - spartacus.schoolnet.co.uk

Brecht accomplished this by not allowing his actors to become the character at any point in the play, instead they are asked to show the characters actions and responses without becoming that character themselves. They must never identify with their character and are in essence giving their own commentary on these characters through their actions. The ideas are similar to those of Greek theatre in which a story was told through the use of a play, the characters themselves were not represented on the stage, only presented.

Actors break the fourth wall, make scenery shifts in full light view and narrate large portions of the story in order to dissuade audiences from becoming too attached to the actors themselves but rather the characters.

Information cited from:

http://www.cs.brandeis.edu/~jamesf/goodwoman/brecht_epic_theater.html
http://www.spartacus.schoolnet.co.uk/USAbrecht.htm

What is Marxism?

Marxism is an economic and social system based upon the political and economic theories of Karl Marx and Friedrich Engels. Marxism is summed up in the Encarta Reference Library as “a theory in which class struggle is a central element in the analysis of social change in Western societies.” Marxism is the antithesis of capitalism which is defined by Encarta as “an economic system based on the private ownership of the means of production and distribution of goods, characterized by a free competitive market and motivation by profit.” Marxism is the system of socialism of which the dominant feature is public ownership of the means of production, distribution, and exchange.

Under capitalism, the proletariat, the working class or “the people,” own only their capacity to work; they have the ability only to sell their own labor. According to Marx a class is defined by the relations of its members to the means of production. He proclaimed that history is the chronology of class struggles, wars, and uprisings. Under capitalism, Marx continues, the workers, in order to support their families are paid a bare minimum wage or salary. The worker is alienated because he has no control over the labor or product which he produces. The capitalists sell the products produced by the workers at a proportional value as related to the labor involved. Surplus value is the difference between what the worker is paid and the price for which the product is sold.

A proletariat or socialist revolution must occur, according to Marx, where the state (the means by which the ruling class forcibly maintains rule over the other classes) is a dictatorship of the proletariat. Communism evolves from socialism out of this progression: the socialist slogan is “From each according to his ability, to each according to his work.” The communist slogan varies thusly: “From each according to his ability, to each according to his needs.”

http://www.allaboutphilosophy.org/what-is-marxism-faq.htm

Brief Summary on Socialism

The socialist doctrine demands state ownership and control of the fundamental means of production and distribution of wealth, to be achieved by reconstruction of the existing capitalist or other political system of a country through peaceful, democratic, and parliamentary means. The doctrine specifically advocates nationalization of natural resources, basic industries, banking and credit facilities, and public utilities. It places special emphasis on the nationalization of monopolized branches of industry and trade, viewing monopolies as inimical to the public welfare. It also advocates state ownership of corporations in which the ownership function has passed from stockholders to managerial personnel. Smaller and less vital enterprises would be left under private ownership, and privately held cooperatives would be encouraged. The ultimate goal of all socialists, however, is a classless cooperative commonwealth in every nation of the world.

Norman Thomas, D. Litt, Robert E. Burke. Funk & Wagnalls ® New Encyclopedia. © 2006

World Almanac Education Group. A WRC Media Company.
http://www.history.com/encyclopedia.do?articleId=222614

Brecht Facts and Key Terms

• (Eugene) Bertolt (Friedrich) Brecht Biography was born Feb. 10, 1898, Augsburg, Ger.—died Aug. 14, 1956, East Berlin, in his life he was a poet, a playwright, and theatrical reformer whose epic theatre departed from the conventions of theatrical illusion and developed the drama as a social and ideological forum for leftist causes.

• Until 1924 Brecht lived in Bavaria, studied medicine (Munich, 1917–21), and served in an army hospital (1918). This period inspired his first play, Baal (produced 1923); his first success, Trommeln in der Nacht (Kleist Preis, 1922; Drums in the Night); the poems and songs collected as Die Hauspostille (1927; A Manual of Piety, 1966), his first professional production (Edward II, 1924); and his admiration for Wedekind, Rimbaud, Villon, and Kipling. During this period he also developed a violently antibourgeois attitude that reflected his generation's deep disappointment in the civilization that had come crashing down at the end of World War I.

• Among Brecht's friends were members of the Dadaist group, who aimed to destroy what they condemned as the false standards of bourgeois art. The man who taught him the elements of Marxism in the late 1920s was Karl Korsch, an eminent Marxist theoretician who had been a Communist member of the Reichstag but had been expelled from the German Communist Party in 1926. In 1928 Brecht and Kurt Weill, a famous composer, wrote the satirical, successful ballad opera Die Dreigroschenoper (1928; The Threepenny Opera) and the opera Aufstieg und Fall der Stadt Mahagonny (1930; Rise and Fall of the City of Mahagonny). In these years he developed his theory of “epic theatre” and an austere form of irregular verse. He also became a Marxist.

• In 1933 he went into exile—in Scandinavia (1933–41), mainly in Denmark, and then in the United States (1941–47), where he did some film work in Hollywood. In Germany his books were burned and his citizenship was withdrawn. He was cut off from the German theatre; but between 1937 and 1941 he wrote most of his great plays, his major theoretical essays and dialogues, and many of the poems collected as Svendborger Gedichte (1939). The plays of these years became famous in the author's own and other productions: notable among them are Mutter Courage und ihre Kinder (1941; Mother Courage and Her Children), Leben des Galilei (1943; The Life of Galileo); Der gute Mensch von Sezuan (1943; The Good Woman of Setzuan), Der Aufhaltsame Aufstieg des Arturo Ui (1957; The Resistible Rise of Arturo Ui), Herr Puntila und sein Knecht Matti (1948; Herr Puntila and His Man Matti), and The Caucasian Chalk Circle.

• In 1949 Brecht went to Berlin to help stage Mutter Courage und ihre Kinder (with his wife, Helene Weigel, in the title part) at Reinhardt's old Deutsches Theater in the Soviet sector. This led to formation of the Brecht’s own company, the Berliner Ensemble, and to permanent return to Berlin. Henceforward the Ensemble and the staging of his own plays had first claim on Brecht's time. Often suspect in eastern Europe because of his unorthodox aesthetic theories and denigrated or boycotted in the West for his Communist opinions, he yet had a great triumph at the Paris Théâtre des Nations in 1955, and in the same year in Moscow he received a Stalin Peace Prize. He died of a heart attack in East Berlin the following year.

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Epic Theatre:
A form of didactic theatre intended to provoke rational thought rather than to create illusion through loosely connected scenes which are interrupted by alienating or distancing effects to block the emotional responses of the audience members and force them to think objectively about the play. This form of theatre is most often associated with Bertolt Brecht but can also be traced back in roots to German playwright Frank Wedekind, and the German directors Erwin Piscator and Leopold Jessner.

Socialism:
In Marxist theory, the stage of social organization following Capitalism in a society's journey into the inevitable stage of Communism. This theory advocates the vesting of ownership and control of the means of production and distribution, of capital, land, etc., to the community as a whole.

Marxism:
The system of economic and political thought developed by Karl Marx, along with Friedrich Engels, stating that throughout history has been a device for the exploitation of the masses by a dominant class, that class struggle has been the main agency of historical change, and that the capitalist system, containing from the first the seeds of its own decay, will inevitably, after the period of the dictatorship of the proletariat, be superseded by a socialist order before finally manifesting as a classless society.

Didacticism:
The instruction or teaching of a moral lesson. Brecht's plays are often didactic and use contradictions within the characters themselves to showcase a specific point. The term is often used to describe a text which is over-ridden with moral instruction, and can also be used to describe something which is destructive rather than informative.

Dialecticism:
The belief that everything has two sides, and that the way to truth and social peace is through the exploration of values belonging both sides of the social ladder.

Economic Determinism:
The idea that economic structure and changes determine social differentiation and class conflict and therefor shape history. Economic determinism can be translated into man's effort to survive, and succeed.

Sources:
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www.dictionary.com
www.britannica.com

Thursday, March 12, 2009

The Cult of Stalin and Propaganda; Notes By: Rudolf Kral

"Through the cult of personality Stalin was able to set up his personal dictatorship and run unopposed and unquestioned. Due to the small number of people who did oppose him he had no problem killing them.

There are 4 main ways Stalin’s cult of personality was created:

  • Censorship of anything that might reflect badly on Stalin
  • Propaganda everywhere - pictures, statues, continuous praise and applause, Places named after him
  • Word of mouth: Mothers taught their children that Stalin was ‘the wisest man of the age’
  • History books and photographs were changed to make him the hero of the Revolution, and obliterate the names of purged people (e.g. Trotsky).



    The main reason for propaganda was pretty much the same as that for the cult of personality, provided a better grip on power, but propaganda also had a wider range of uses:

  • To establish a personal dictatorship
  • To support, build and expand soviet power
  • To attack enemies
  • To control people
  • To increase the war effort
  • Create a feeling of unison


    There were 7 main ways in which propaganda was spread:

    1. Posters
    2. Art
    3. Literature
    4. Film
    5. News
    6. Education
    7. Youth groups



    The most effective form of propaganda was news reels:

  • propaganda was be easily disguised and broadcast as news
  • popularize and support the state and its decisions (ex. masked the failure of the 5 year plan)



    Stalin deemed education to be a vital part of c being a communist, because if children are taught to be communists the brain washing is more effective. Stalin reformed the education system when he came to power. This reform was good for the people and made education more effective and accessible but I also contained some reforms that could be called introducing propaganda into the school system:

  • Communism and Stalin were fused into most subjects
  • Some subjects were rewritten Ex. history, Stalin was given a greater part in the revolution
  • train young people for slots in the economic, social, political and cultural life of the state
  • Uniforms were introduced to create the feeling on unity


    Youth groups were another form of propaganda implemented on children:

  • Children were instructed to follow the party’s ideas
  • But also did fun activities
  • Shared a common uniform to once again create a feeling on unity
  • Youth groups were very popular
  • most famous Russian youth group was Communist League of Youth
  • over 9 million members
  • Children from youth groups were frequently photographed with Stalin


    The use of propaganda was vital for the creation of Stalin’s cult of personality and one of the more important parts if it was how Stalin associated himself with Lenin after his death:

  • Stalin embalmed Lenin against his wives wishes
  • Created a cult round Lenin's death despite Lenin's ideals
  • Associated him self with Lenin
  • Declared him self Lenin's natural successor


    Stalin did all this so that he could then transfer Lenin’s cult of personality onto him self. He was successful and this brought about the era of Stalinization:

  • Stalin was everywhere:
  • Every house hold had a picture of Lenin and Stalin
  • Constant parades were held in his honor
  • Streets were filled with huge posters
  • Stalin’s statues were raised everywhere


  • He was given titles such as "Coryphaeus of Science," "Father of Nations," "Brilliant Genius of Humanity," "Great Architect of Communism," "Gardener of Human Happiness,"
  • Soviet history rewritten to provide himself a more significant role in the revolution.
  • Stalin was even included in the national anthem


    To conclude:

  • The Russian people shouldn’t be blamed for the atrocities that were that were made possible through their support of the regime and Stalin
  • Continues propaganda effectively brain washed and clouded their judgment
  • They truly believed that Stalin was unaware of the crimes on humanity that became so banal during his rule and though he really worked for their interest
  • "Why Russia Still Loves Stalin"

    Excerpts:

    "It's not surprising. After the anarchy that followed the collapse of the Soviet Union in 1991, a period when democracy came to represent confusion, crime, poverty, oligarchy, anger and disappointment, it turned out that Russians didn't like their new, "free" selves. Having for centuries had no sense of self-esteem outside the state, we found ourselves wanting our old rulers back, the rulers who provided a sense of order, inspired patriotic fervor and the belief that we were a great nation. We yearned for monumental -- if oppressive -- leaders, like Ivan the Terrible or Stalin. Yes, they killed and imprisoned, but how great were our victories and parades! So what if Stalin ruled by fear? That was simply a fear for one's life. However terrifying, it wasn't as existentially threatening as the fear of freedom, of individual choice, with no one but oneself to blame if democracy turned into disarray and capitalism into corruption."

    "This tendency to dismiss the past, never to fully repent of its sins, is common in Russian history, and it allows for a film of nostalgia to take hold."

    "Instead, the complexities of life in a fragmented modern society that can boast of no momentous achievements -- no more superpower status, no new Sputniks -- have made Russians nostalgic for the "strong state" they once inhabited. It's a cycle that will keep on repeating itself until Russia finally and fully confronts its past."

    The Danger of a Naïve Working Class

    "One of the novella's most impressive accomplishments is its portrayal not just of the figures in power but also of the oppressed people themselves. Animal Farm is not told from the perspective of any particular character, though occasionally it does slip into Clover's consciousness. Rather, the story is told from the perspective of the common animals as a whole. Gullible, loyal, and hardworking, these animals give Orwell a chance to sketch how situations of oppression arise not only from the motives and tactics of the oppressors but also from the naïveté of the oppressed, who are not necessarily in a position to be better educated or informed. When presented with a dilemma, Boxer prefers not to puzzle out the implications of various possible actions but instead to repeat to himself, “Napoleon is always right.” Animal Farm demonstrates how the inability or unwillingness to question authority condemns the working class to suffer the full extent of the ruling class's oppression."

    Tuesday, March 3, 2009

    Character Correspondence to Historical Figures

    Clover / Boxer: The working class
    Napoleon: Joseph Stalin, Napoleon,
    Snowball: Leon Trotsky
    Squealer: Russian Media
    Old Major: Karl Marx, Vladimir Lenin,
    Benjamin / Muriel: Lower Class Intelligentsia*, Literate Lower Class
    Mollie: The Lower Class; Lumpenproletariat
    Birds: Peasant Farmers
    Moses: Russian Orthodox Church
    Pigeon: Comintern; The Communist Magazine
    Dogs: The Secret Police
    Mr. and Mrs. Jones: Tsar of Russia, Nicholas Alexandrovich Romanov (Nicholas II), and his wife Alexandra
    Mr. Pilkington: Composite of England’s Leaders
    Sheep: The Masses at Large
    Mr. Fredrick: Composite of Germany’s Leaders w/ emphasis on Hitler
    Mr. Whymper: Capitalism

    * Intelligentsia: intellectuals who form an artistic, social, or political vanguard or elite