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Berlin, Berliner Ensemble (Theater am Schiffbauerdamm)

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Berlin, Berliner Ensemble (Theater am Schiffbauerdamm)

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This is a statue of Bertolt Brecht outside the Berliner Ensemble's theatre in Berlin

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This is a statue of Bertolt Brecht outside the Berliner Ensemble's theatre in Berlin

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Graves of Helene Weigel and Bertolt Brecht in the Dorotheenstadt cemetery

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Graves of Helene Weigel and Bertolt Brecht in the Dorotheenstadt cemetery

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Five Truths | Bertolt Brecht | National Theatre

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An introduction to Bertolt Brecht | National Theatre

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Breaking the fourth wall

This is where the wall between the audience and actors on stage is broken. Breaking the fourth wall is when an actor asks the audience a question or talks to them about something.

Montage

Short movie clips are put together, often to show factual events. Sometimes clips are edited to juxtapose each other, or sometimes the montages are used to highlight the issues Brecht is trying to communicate.

Use of song, music and dance

Some of Brecht’s work includes songs, music and dance. This helps to remind the audience that they are not watching real life. Sometimes the songs are juxtaposed ironically, with cheery upbeat music but with dark lyrics. One of the most famous song lyrics comes from Brecht’s ‘The Threepenny Opera’: ‘Who is the bigger criminal: he who robs a bank or he who founds one?’

Narration

Narration is used to remind the audience that they are watching a story. Sometimes the narrator will tell the audience what is about to happen in the story, before it happens, because if the audience knows the outcome then they may not get as emotionally involved.

Minimal set, costumes, props and lighting

Brecht believes the stage should be brightly lit at all times. That sets should not be realistic, just suggestive. And that actors should use minimal props, often only one per character. Also props can be used in several different ways, for example a suitcase may become a desk.

Coming out of character

Actors will sometimes come out character, often at heightened moments of drama, to remind the audience that it is a piece of fiction that they are watching.

Using placards

A placard, or projection screen can be used to give the audience some extra factual information, for example it might say how many people have died in a particular war. Placards can also be used to introduce characters in generic ways, e.g. ‘mum,’ or ‘dad.’ Placards are also used to introduce a new scene, or to tell the audience when one has finished.
Freeze frames/tableaux

The actors may go into a freeze frame, so as to break the action. Sometimes it’s done so that the audience can stop and think critically for moment. And sometimes it’s done so that the narrator can speak, or so that an actor can come out of character and perhaps break the fourth wall.

He used this techniques to make the audience not get emotionally engaged and question about it

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Stamp from the former East Germany depicting Brecht and a scene from his Life of Galileo

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Stamp from the former East Germany depicting Brecht and a scene from his Life of Galileo

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This is where Bertolt Brecht was born and raised as a child.

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Bertold Brecht was born in Germany Augsburg, Bavaria 10 February 1898  (as a chiu known as Eugen) and died 14 August 1956 of a heart attack at the age of 58 he is buried in the Dorotheenstädtischer cemetery on Chausseestraße in the Mitte neighbourhood of Berlin.Brecht started to write   political poetry and plays at an early age about social issues.  Brecht was nearly expelled from school in 1915 for writing an essay in response to the line "Dulce et decorum est pro patria mori" from the Roman poet Horace, calling it Zweckpropaganda ("cheap propaganda for a specific purpose") and arguing that only an empty-headed person could be persuaded to die for their country. His expulsion was only prevented through the intervention of his religion teacher. He was branded a troublemaker at school and got expelled for writing anti-war poems. Brecht also became interested in Karl Marx's theories of socialism. "He was the main proponent of the genre named epic theater (which he preferred to call "dialectical theater").When he was young he was studying medicine and served in an army hospital in ww2 (world war 2). The terror that was happening in ww2 lead Brecht to many questions to society and politics. Brecht play writing began to include politics. His writing were so political that he was judged in Germany, so he worked at hollywood for a while. When Brecht moved back to Germany, he founded the "Berliner Ensemble" in 1945. Many people began to appreciate his work.

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This is an introduction video to Bertolt Brecht.

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                                                                POLITIC THEATRE//EPIC THEATRE

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                                                                POLITIC THEATRE//EPIC THEATRE

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Video//Methods//Tips

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"Always forwards never backwards" ~Frantic Assembly

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-Physical theater is anything that puts the human body at the centre of the storytelling process. As a result its often abstract in style, using movement in a stylised and representational way.
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-Physical theater is the craft of building theater through physical actions,characterisation and stage composition.
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-Its purpose is to: showcase, represent or symbolize ideas, storyline themes, moods stylistically and show case contrast and juxtapostioning.
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Things I Know To be True: Sliding Furniture or "Chair Olympics"

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Things I Know To be True: Sliding Furniture or "Chair Olympics"

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A few weeks ago someone got in touch with the Frantic office to ask us a question about the moving set in Things I Know To Be True.
They asked, "My students and I are keen to know how you make the furniture slide so beautifully?"
Our Technical Stage Manager, Simon Legg, replied with this..
There are four basic techniques we use in conjunction with each other:
For large items that have to glide on stage like tables, sheds, fridges, etc we cover the bottom with either carpet or black serge.
For smaller furniture like chairs we attach small feet of PTFE (better known by its brand name 'Teflon') to the legs of the chair. We then give them a regular spray of PTFE spray (a lubricant made from Teflon) just to give them extra slidiness. You can buy pre-made PTFE furniture feet but we prefer to make our own by shaping blocks of the stuff to custom fit our chairs.
The third technique is our stage decking. For 'Things I know To Be True' we cover the stage in black wooden sheeting that's made for forming cement structures with. It has a very smooth surface so that when builders pour cement on to it, it has a flawless finish. We use the sheeting's smoothness to help reduce friction. This part of the method is the least important if you're on a budget. A high gloss ballet floor would also work.
The fourth, final and arguably the most important thing that makes the shows furniture glide the way it does is REHEARSAL! The actors spend a great deal of time in the rehearsal room practicing the moves so it becomes muscle memory.
Here's a fun video of Matt Barker practicing one of the chair slides from the show. As you'll see it's really not as easy as it looks in the performance...

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Things I Know To be True: Sliding Furniture or "Chair Olympics"

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A few weeks ago someone got in touch with the Frantic office to ask us a question about the moving set in Things I Know To Be True. They asked, "My students and I are keen to know how you make the furniture slide so beautifully?"

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Matthew Barker - Things I Know To Be True | Interview | Frantic Assembly | Digital Theatre+

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Matthew Barker - Things I Know To Be True | Interview | Frantic Assembly | Digital Theatre+

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Matthew Barker plays Mark and Mia in Frantic Assembly’s production of Andrew Bovell’s Thing I Know To Be True. In this interview Matthew discusses the extensive research into, sincere approach towards and delicate examination of gender dysphoria that characterised the play’s and the company’s storytelling, from first read-through, to audience response.

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Matthew Barker - Things I Know To Be True | Interview | Frantic Assembly | Digital Theatre+

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Matthew Barker - Things I Know To Be True - watch the full interview on Digital Theatre+ here: http://po.st/eCNrhA Matthew Barker plays Mark and Mia in Frantic Assembly's production of Andrew Bovell's Thing I Know To Be True.

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Natalie Casey - Interview | Things I Know To Be True | Frantic Assembly | Digital Theatre Plus

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Natalie Casey - Interview | Things I Know To Be True | Frantic Assembly | Digital Theatre Plus

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Natalie Casey discusses playing the eldest female Price sibling, Pip, in Frantic Assembly’s acclaimed production of Things I Know To Be True. She discusses the collaborative development of character, the gravitas of the subject matter, and the metaphors of familial trust being played out through the physicality of the piece.

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Natalie Casey - Interview | Things I Know To Be True | Frantic Assembly | Digital Theatre+

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Natalie Casey - Interview - watch the full interview on Digital Theatre+ here: http://po.st/mriIsB Natalie Casey discusses playing the eldest female Price sibling, Pip, in Frantic Assembly's acclaimed production of Things I Know To Be True. She discusses the collaborative development of character, the gravitas of the subject matter, and the metaphors of familial trust being played out through the physicality of the piece.

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Ewan Stewart - Imogen Stubbs | Interview | Things I Know To Be True | Digital Theatre Plus

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Ewan Stewart - Imogen Stubbs | Interview | Things I Know To Be True | Digital Theatre Plus

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Ewan Stewart and Imogen speak to DT+ in this interview. The actors who bring to life Mrs and Mr Price in Things I Know To Be True discuss the complexities of portraying the laughter and fault lines, mapped out over the course of a 30 year marriage, in a single production. They discuss the similarities between themselves and their characters, the unique experience of crafting a show with Frantic Assembly and the particularities of the on and off stage family that developed through that process.

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Ewan Stewart - Imogen Stubbs | Interview | Things I Know To Be True | Digital Theatre+

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Ewan Stewart - Imogen Stubbs - watch the full interview on Digital Theatre+ here: http://po.st/XrhQmG Ewan Stewart and Imogen speak to DT+ in this interview. The actors who bring to life Mrs and Mr Price in Things I Know To Be True discuss the complexities of portraying the laughter and fault lines, mapped out over the course of a 30 year marriage, in a single production.

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Scott Graham - Frantic Assembly | Interview | Digital Theatre Plus

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Scott Graham - Frantic Assembly | Interview | Digital Theatre Plus

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Scott Graham, Artistic Director of Frantic Assembly, explores the honest and collaborative process of developing the physical and textual language of Things I Know To Be True, alongside co-director Geordie Brookman, writer Andrew Bovell and a cast that grew into their characters as rehearsals progressed.

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Scott Graham - Frantic Assembly | Interview | Digital Theatre+

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Scott Graham - Frantic Assembly - watch the full interview on Digital Theatre+ here: http://po.st/lW3asQ Scott Graham, Artistic Director of Frantic Assembly, explores the honest and collaborative process of developing the physical and textual language of Things I Know To Be True, alongside co-director Geordie Brookman, writer Andrew Bovell and a cast that grew into their characters as rehearsals progressed.

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Kirsty Oswald - Things I Know To Be True | Interview | Frantic Assembly | Digital Theatre Plus

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Kirsty Oswald - Things I Know To Be True | Interview | Frantic Assembly | Digital Theatre Plus

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Kirsty Oswald discusses playing the youngest Price child, Rosie, in Frantic Assembly’s Things I Know To Be True. Kirsty talks about the family that developed through rehearsing the play, the physical and emotional exhaustion that the production provokes, and describes the movement of the piece as loving familial support made manifest.

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Kirsty Oswald - Things I Know To Be True | Interview | Frantic Assembly | Digital Theatre+

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Youtube Channel

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The Lyric Hammersmith aims to produce work that is provoking, entertaining, popular, eclectic, messy, contradictory and diverse. We want to be at the heart of our community as well as being internationally recognised. We want to celebrate the unique vision of the writer as well as the creative power of collaboration.

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The Seagull Trailer - Lyric Hammersmith Uk

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The Seagull Trailer - Lyric Hammersmith Uk

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This is the trailer of the seagull by

Lyric Hammersmith

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The Seagull Lyric Hamersmith Book tickets: http://bit.ly/2xxt6gA

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The Seagull is an naturalistic play by the actors named: Lloyd Cooney, Nicholas Gleaves, Lloyd Hutchinson, Raphael Sowole, Adelayo Adedayo, Michele Austin, Paul Higgins, Lesley Sharp, Cherrelle Skeete, Nicolas Tennant and Brian Vernel

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In this addition Darren Stevenson  Heather  Stevenson
Jonathan Lowery
Andrew Salmon
Avi Pryntz Nadworn
they are doing a physical theater play which they do it by moving the body showing emotions and etc.

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PUSH Physical Theatre (Different Breed Promo)

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Naturalism was developed in the late 19th and early 20th centuries. "It refers to theatre that attempts to create an illusion of reality through a range of dramatic and theatrical strategies."Naturalism was first advocated explicitly by Emile Zola in his 1880 essay entitled Naturalism on the Stage.

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Things I Know To Be True is a theatre production produced by State Theatre Company South Australia and Frantic Assembly.The play is naturalistic "but features a great use of non-naturalistic physical movement to emphasise the emotional connection between the characters following the story of the Price Family and their problems".The play is set in Adelaide, Australia, "which is where the play held its World Premiere in May 2016. It subsequently toured the United Kingdom twice".

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Rosie's monologue - "Berlin" Things I know to be true

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Rosie's monologue - "Berlin" Things I know to be true

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Rosie's monologue from the popular play. Physical theatre piece by Frantic Assembly.

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Rosie's monologue - "Berlin" Things I know to be true

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Rosie's monologue from the popular play. Physical theatre piece by Frantic Assembly.

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''Frantic Assembly and State Theatre Company of South Australia present, Things I Know To Be True, a new play by Andrew Bovell''.

''Watch their trailer for  UK production of Things I Know To Be True 2016. After the critically acclaimed tour in 2016, Things I Know To Be True will be touring the UK this Autumn 2017''.

''As beautifully touching as it is funny and bold, Things I Know To Be True tells the story of a family and marriage through the eyes of four grown siblings struggling to define themselves beyond their parents’ love and expectations''.

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                                                                                   PHYSICAL THEATRE

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                                                                                   PHYSICAL THEATRE

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Videos//Methods//Tips

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                                                                           NATURALISM THEATRE

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                                                                           NATURALISM THEATRE

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Videos//Methods//Tips

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                                                                                METHODS & TIPS

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                                                                                METHODS & TIPS

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Videos//Methods//Tips

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Naturalistic  acting is when a play is realistic and is not exaggerated the play has to be realistic or it is not naturalistic acting. Naturalistic acting is by doing dramatic pauses and etc.

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In this video Todd Bruno will show you 5 tips for acting

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Lorenzo Jackson, a member of Drama Group 48, talks about a typical day studying acting at Juilliard. His classes include movement with Moni Yakim, masks with Mina Yakin, speech with Kate Wilson, voice with Andrew Wade, singing with Deborah Lapidus, scene study with Rebecca Guy, and rehearsal for Chekhov's 'Three Sisters.'

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Lorenzo Jackson, a member of Drama Group 48, talks about a typical day studying acting at Juilliard. His classes include movement with Moni Yakim, masks with Mina Yakin, speech with Kate Wilson, voice with Andrew Wade, singing with Deborah Lapidus, scene study with Rebecca Guy, and rehearsal for Chekhov's 'Three Sisters.'

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Drama is the specific mode of fiction represented in performance

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Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's (c. 335 BC)-the earliest work of dramatic theory.

The term "drama" comes from a Greek word meaning "deed" or " act" ( Classical Greek: , drâma), which is derived from "I do" ( Classical Greek: , dráō). The two masks associated with drama represent the traditional generic division between comedy and tragedy.

In English (as was the analogous case in many other European languages), the word or game (translating the Anglo-Saxon pleġan or Latin ludus) was the standard term for dramas until William Shakespeare's time-just as its creator was a play-maker rather than a dramatist and the building was a play-house rather than a .

The use of "drama" in a more narrow sense to designate a specific type of play dates from the modern era. "Drama" in this sense refers to a play that is neither a comedy nor a tragedy-for example, Zola's Thérèse Raquin ( 1873) or Chekhov's ( 1887). It is this narrower sense that the film and television industries, along with film studies, adopted to describe " drama" as a genre within their respective media. The term " radio drama" has been used in both senses-originally transmitted in a live performance. May also refer to the more high-brow and serious end of the dramatic output of radio.

The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception.

Mime is a form of drama where the action of a story is told only through the movement of the body. Drama can be combined with music: the dramatic text in opera is generally sung throughout; as for in some ballets dance "expresses or imitates emotion, character, and narrative action". Musicals include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue ( melodrama and Japanese Nō, for example). Closet drama is a form that is intended to be read, rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.

Western drama originates in classical Greece. The theatrical culture of the city-state of Athens produced three genres of drama: tragedy, comedy, and the satyr play. Their origins remain obscure, though by the 5th century BC, they were institutionalised in competitions held as part of festivities celebrating the god Dionysus. Historians know the names of many ancient Greek dramatists, not least Thespis, who is credited with the innovation of an actor (" hypokrites") who speaks (rather than sings) and impersonates a character (rather than speaking in his own person), while interacting with the chorus and its leader ("coryphaeus"), who were a traditional part of the performance of non-dramatic poetry ( dithyrambic, lyric and epic).

Only a small fraction of the work of five dramatists, however, has survived to this day: we have a small number of complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic writers Aristophanes and, from the late 4th century, Menander. Aeschylus' historical tragedy The Persians is the oldest surviving drama, although when it won first prize at the City Dionysia competition in 472 BC, he had been writing plays for more than 25 years. The competition ("") for tragedies may have begun as early as 534 BC; official records (" didaskaliai") begin from 501 BC when the satyr play was introduced. Tragic dramatists were required to present a tetralogy of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three tragedies and one satyr play (though exceptions were made, as with Euripides' in 438 BC). Comedy was officially recognized with a prize in the competition from 487 to 486 BC.

Five comic dramatists competed at the City Dionysia (though during the Peloponnesian War this may have been reduced to three), each offering a single comedy. Ancient Greek comedy is traditionally divided between "old comedy" (5th century BC), "middle comedy" (4th century BC) and "new comedy" (late 4th century to 2nd BC).

Following the expansion of the Roman Republic (509-27 BC) into several Greek territories between 270-240 BC, Rome encountered Greek drama. From the later years of the republic and by means of the Roman Empire (27 BC-476 AD), theatre spread west across Europe, around the Mediterranean and reached England; Roman theatre was more varied, extensive and sophisticated than that of any culture before it.

While Greek drama continued to be performed throughout the Roman period, the year 240 BC marks the beginning of regular Roman drama. From the beginning of the empire, however, interest in full-length drama declined in favour of a broader variety of theatrical entertainments. The first important works of Roman literature were the tragedies and comedies that Livius Andronicus wrote from 240 BC. Five years later, Gnaeus Naevius also began to write drama. No plays from either writer have survived. While both dramatists composed in both genres, Andronicus was most appreciated for his tragedies and Naevius for his comedies; their successors tended to specialise in one or the other, which led to a separation of the subsequent development of each type of drama.

By the beginning of the 2nd century BC, drama was firmly established in Rome and a guild of writers ( collegium poetarum) had been formed. The Roman comedies that have survived are all fabula palliata (comedies based on Greek subjects) and come from two dramatists: Titus Maccius Plautus (Plautus) and Publius Terentius Afer (Terence). In re-working the Greek originals, the Roman comic dramatists abolished the role of the chorus in dividing the drama into episodes and introduced musical accompaniment to its dialogue (between one-third of the dialogue in the comedies of Plautus and two-thirds in those of Terence). The action of all scenes is set in the exterior location of a street and its complications often follow from eavesdropping.

Plautus, the more popular of the two, wrote between 205 and 184 BC and twenty of his comedies survive, of which his farces are best known; he was admired for the wit of his dialogue and his use of a variety of poetic meters. All of the six comedies that Terence wrote between 166 and 160 BC have survived; the complexity of his plots, in which he often combined several Greek originals, was sometimes denounced, but his double-plots enabled a sophisticated presentation of contrasting human behaviour. No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians- Quintus Ennius, Marcus Pacuvius, and Lucius Accius.

From the time of the empire, the work of two tragedians survives-one is an unknown author, while the other is the Stoic philosopher Seneca. Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his , for example, was based on Euripides' Hippolytus. Historians do not know who wrote the only extant example of the fabula praetexta (tragedies based on Roman subjects), , but in former times it was mistakenly attributed to Seneca due to his appearance as a character in the tragedy.

Beginning in the early Middle Ages, churches staged dramatised versions of biblical events, known as liturgical dramas, to enliven annual celebrations. The earliest example is the Easter trope Whom do you Seek? (Quem-Quaeritis) (c. 925). Two groups would sing responsively in Latin, though no impersonation of characters was involved. By the 11th century, it had spread through Europe to Russia, Scandinavia, and Italy; excluding Islamic-era Spain.

In the 10th century, Hrosvitha wrote six plays in Latin modeled on Terence's comedies, but which treated religious subjects. Her plays are the first known to be composed by a female dramatist and the first identifiable Western drama of the post-Classical era. Later, Hildegard of Bingen wrote a musical drama, Ordo Virtutum (c. 1155).

One of the most famous of the early secular plays is the courtly pastoral Robin and Marion, written in the 13th century in French by Adam de la Halle. The Interlude of the Student and the Girl (c. 1300), one of the earliest known in English, seems to be the closest in tone and form to the contemporaneous French farces, such as The Boy and the Blind Man.

Many plays survive from France and Germany in the late Middle Ages, when some type of religious drama was performed in nearly every European country. Many of these plays contained comedy, devils, villains, and clowns. In England, trade guilds began to perform vernacular " mystery plays," which were composed of long cycles of many playlets or "pageants," of which four are extant: York (48 plays), Chester (24), Wakefield (32) and the so-called " N-Town" (42). The Second Shepherds' Play from the Wakefield cycle is a farcical story of a stolen sheep that its protagonist, Mak, tries to pass off as his new-born child asleep in a crib; it ends when the shepherds from whom he has stolen are summoned to the Nativity of Jesus.

Morality plays (a modern term) emerged as a distinct dramatic form around 1400 and flourished in the early Elizabethan era in England. Characters were often used to represent different ethical ideals. , for example, includes such figures as Good Deeds, Knowledge and Strength, and this characterisation reinforces the conflict between good and evil for the audience. The Castle of Perseverance (c. 1400-1425) depicts an archetypal figure's progress from birth through to death. (c. 1567), a late "hybrid morality" and one of the earliest examples of an English revenge play, brings together the classical story of Orestes with a Vice from the medieval allegorical tradition, alternating comic, slapstick scenes with serious, tragic ones. Also important in this period were the folk dramas of the Mummers Play, performed during the Christmas season. Court masques were particularly popular during the reign of Henry VIII.

One of the great flowerings of drama in England occurred in the 16th and 17th centuries. Many of these plays were written in verse, particularly iambic pentameter. In addition to Shakespeare, such authors as Christopher Marlowe, Thomas Middleton, and Ben Jonson were prominent playwrights during this period. As in the medieval period, historical plays celebrated the lives of past kings, enhancing the image of the Tudor monarchy. Authors of this period drew some of their storylines from Greek mythology and Roman mythology or from the plays of eminent Roman playwrights such as Plautus and Terence.

Restoration comedy refers to English comedies written and performed in England during the Restoration period from 1660 to 1710. Comedy of manners is used as a synonym of Restoration comedy. After public theatre had been banned by the Puritan regime, the re-opening of the theatres in 1660 with the Restoration of Charles II signalled a renaissance of English drama. Restoration comedy is known for its sexual explicitness, urbane, cosmopolitan wit, up-to-the-minute topical writing, and crowded and bustling plots. Its dramatists stole freely from the contemporary French and Spanish stage, from English Jacobean and Caroline plays, and even from Greek and Roman classical comedies, combining the various plotlines in adventurous ways. Resulting differences of tone in a single play were appreciated rather than frowned on, as the audience prized "variety" within as well as between plays. Restoration comedy peaked twice. The genre came to spectacular maturity in the mid-1670s with an extravaganza of aristocratic comedies. Twenty lean years followed this short golden age, although the achievement of the first professional female playwright, Aphra Behn, in the 1680s is an important exception. In the mid-1690s, a brief second Restoration comedy renaissance arose, aimed at a wider audience. The comedies of the golden 1670s and 1690s peak times are significantly different from each other.

The unsentimental or "hard" comedies of John Dryden, William Wycherley, and George Etherege reflected the atmosphere at Court and celebrated with frankness an aristocratic macho lifestyle of unremitting sexual intrigue and conquest. The Earl of Rochester, real-life Restoration rake, courtier and poet, is flatteringly portrayed in Etherege's The Man of Mode (1676) as a riotous, witty, intellectual, and sexually irresistible aristocrat, a template for posterity's idea of the glamorous Restoration rake (actually never a very common character in Restoration comedy). The single play that does most to support the charge of obscenity levelled then and now at Restoration comedy is probably Wycherley's masterpiece The Country Wife (1675), whose title contains a lewd pun and whose notorious "china scene" is a series of sustained double entendres.

During the second wave of Restoration comedy in the 1690s, the "softer" comedies of William Congreve and John Vanbrugh set out to appeal to more socially diverse audience with a strong middle-class element, as well as to female spectators. The comic focus shifts from young lovers outwitting the older generation to the vicissitudes of marital relations. In Congreve's Love for Love (1695) and The Way of the World (1700), the give-and-take set pieces of couples testing their attraction for one another have mutated into witty prenuptial debates on the eve of marriage, as in the latter's famous "Proviso" scene. Vanbrugh's The Provoked Wife (1697) has a light touch and more humanly recognisable characters, while The Relapse (1696) has been admired for its throwaway wit and the characterisation of Lord Foppington, an extravagant and affected burlesque fop with a dark side. The tolerance for Restoration comedy even in its modified form was running out by the end of the 17th century, as public opinion turned to respectability and seriousness even faster than the playwrights did. At the much-anticipated all-star première in 1700 of The Way of the World, Congreve's first comedy for five years, the audience showed only moderate enthusiasm for that subtle and almost melancholy work. The comedy of sex and wit was about to be replaced by sentimental comedy and the drama of exemplary morality.

The pivotal and innovative contributions of the 19th-century Norwegian dramatist Henrik Ibsen and the 20th-century German theatre practitioner Bertolt Brecht dominate modern drama; each inspired a tradition of imitators, which include many of the greatest playwrights of the modern era. The works of both playwrights are, in their different ways, both modernist and realist, incorporating formal experimentation, meta-theatricality, and social critique. In terms of the traditional theoretical discourse of genre, Ibsen's work has been described as the culmination of " liberal tragedy", while Brecht's has been aligned with an historicised comedy.

Other important playwrights of the modern era include Antonin Artaud, August Strindberg, Anton Chekhov, Frank Wedekind, Maurice Maeterlinck, Federico García Lorca, Eugene O'Neill, Luigi Pirandello, George Bernard Shaw, Ernst Toller, Vladimir Mayakovsky, Arthur Miller, Tennessee Williams, Jean Genet, Eugène Ionesco, Samuel Beckett, Harold Pinter, Friedrich Dürrenmatt, Dario Fo, Heiner Müller, and Caryl Churchill.

Western opera is a dramatic art form that arose during the Renaissance in an attempt to revive the classical Greek drama in which dialogue, dance, and song were combined. Being strongly intertwined with western classical music, the opera has undergone enormous changes in the past four centuries and it is an important form of theatre until this day. Noteworthy is the major influence of the German 19th-century composer Richard Wagner on the opera tradition. In his view, there was no proper balance between music and theatre in the operas of his time, because the music seemed to be more important than the dramatic aspects in these works. To restore the connection with the classical drama, he entirely renewed the operatic form to emphasize the equal importance of music and drama in works that he called " music dramas".

Chinese opera has seen a more conservative development over a somewhat longer period of time.

Pantomime (informally panto), is a type of musical comedy stage production, designed for family entertainment. It was developed in England and is still performed throughout the United Kingdom, generally during the Christmas and New Year season and, to a lesser extent, in other English-speaking countries. Modern pantomime includes songs, gags, slapstick comedy and dancing, employs gender-crossing actors, and combines topical humour with a story loosely based on a well-known fairy tale, fable or folk tale. It is a participatory form of theatre, in which the audience is expected to sing along with certain parts of the music and shout out phrases to the performers.

These stories follow in the tradition of fables and folk tales. Usually, there is a lesson learned, and with some help from the audience, the hero/heroine saves the day. This kind of play uses stock characters seen in masque and again commedia dell'arte, these characters include the villain (doctore), the clown/servant (Arlechino/Harlequin/buttons), the lovers etc. These plays usually have an emphasis on moral dilemmas, and good always triumphs over evil, this kind of play is also very entertaining making it a very effective way of reaching many people.

Pantomime has a long theatrical history in Western culture dating back to classical theatre. It developed partly from the 16th century commedia dell'arte tradition of Italy, as well as other European and British stage traditions, such as 17th-century masques and music hall. An important part of the pantomime, until the late 19th century, was the harlequinade. Outside Britain the word "pantomime" is usually used to mean , rather than the theatrical form discussed here.

Mime is a theatrical medium where the action of a story is told through the movement of the body, without the use of speech. Performance of mime occurred in Ancient Greece, and the word is taken from a single masked dancer called Pantomimus, although their performances were not necessarily silent. In Medieval Europe, early forms of mime, such as mummer plays and later dumbshows, evolved. In the early nineteenth century Paris, Jean-Gaspard Deburau solidified the many attributes that we have come to know in modern times, including the silent figure in whiteface.

Jacques Copeau, strongly influenced by Commedia dell'arte and Japanese Noh theatre, used masks in the training of his actors. Étienne Decroux, a pupil of his, was highly influenced by this and started exploring and developing the possibilities of mime and refined corporeal mime into a highly sculptural form, taking it outside of the realms of naturalism. Jacques Lecoq contributed significantly to the development of mime and physical theatre with his training methods.

While some ballet emphasises "the lines and patterns of movement itself" dramatic dance "expresses or imitates emotion, character, and narrative action". Such ballets are theatrical works that have characters and "tell a story", Dance movements in ballet "are often closely related to everyday forms of physical expression, [so that] there is an expressive quality inherent in nearly all dancing", and this is used to convey both action and emotions; mime is also used. Examples include Pyotr Ilyich Tchaikovsky's , which tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse, Sergei Prokofiev's ballet Romeo and Juliet, based on Shakespeare's famous play, and Igor Stravinsky's , which tells the story of the loves and jealousies of three puppets.

Creative drama includes dramatic activities and games used primarily in educational settings with children. Its roots in the United States began in the early 1900s. Winifred Ward is considered to be the founder of creative drama in education, establishing the first academic use of drama in Evanston, Illinois.

The earliest form of Indian drama was the Sanskrit drama. Between the 1st century AD and the 10th was a period of relative peace in the history of India during which hundreds of plays were written. With the Islamic conquests that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely. Later, in an attempt to re-assert indigenous values and ideas, village theatre was encouraged across the subcontinent, developing in various regional languages from the 15th to the 19th centuries. The Bhakti movement was influential in performances in several regions. Apart from regional languages, Assam saw the rise of Vaishnavite drama in an artificially mixed literary language called Brajavali. A distinct form of one-act plays called Ankia Naat developed in the works of Sankardev, a particular presentation of which is called Bhaona. Modern Indian theatre developed during the period of colonial rule under the British Empire, from the mid-19th century until the mid-20th.

Sanskrit theatre

The earliest-surviving fragments of Sanskrit drama date from the 1st century AD. The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre. The ancient ( hymns from between 1500 and 1000 BC that are among the earliest examples of literature in the world) contain no hint of it (although a small number are composed in a form of dialogue) and the rituals of the Vedic period do not appear to have developed into theatre. The Mahābhāṣya by Patañjali contains the earliest reference to what may have been the seeds of Sanskrit drama. This treatise on grammar from 140 BC provides a feasible date for the beginnings of theatre in India.

The major source of evidence for Sanskrit theatre is A Treatise on Theatre ( Nātyaśāstra), a compendium whose date of composition is uncertain (estimates range from 200 BC to 200 AD) and whose authorship is attributed to Bharata Muni. The Treatise is the most complete work of dramaturgy in the ancient world. It addresses acting, dance, music, dramatic construction, architecture, costuming, make-up, props, the organisation of companies, the audience, competitions, and offers a mythological account of the origin of theatre.

Its drama is regarded as the highest achievement of Sanskrit literature. It utilised stock characters, such as the hero ( nayaka), heroine ( nayika), or clown ( vidusaka). Actors may have specialised in a particular type. It was patronized by the kings as well as village assemblies. Famous early playwrights include Bhasa, Kalidasa (famous for Vikrama and Urvashi, Malavika and Agnimitra, and The Recognition of Shakuntala), Śudraka (famous for The Little Clay Cart), Asvaghosa, Daṇḍin, and Emperor Harsha (famous for , and Priyadarsika). (in English translation) influenced Goethe's (1808-1832).

Modern Indian drama

Rabindranath Tagore was a pioneering modern playwright who wrote plays noted for their exploration and questioning of nationalism, identity, spiritualism and material greed. His plays are written in Bengali and include Chitra ( Chitrangada, 1892), The King of the Dark Chamber ( Raja, 1910), The Post Office ( Dakghar, 1913), and Red Oleander ( Raktakarabi, 1924). Girish Karnad is a noted playwright, who has written a number of plays that use history and mythology, to critique and problematize ideas and ideals that are of contemporary relevance. Karnad's numerous plays such as Tughlaq, Hayavadana, , and Naga-Mandala are significant contributions to Indian drama. Vijay Tendulkar and Mahesh Dattani are amongst the major Indian playwrights of the 20th century. Mohan Rakesh in Hindi and Danish Iqbal in Urdu are considered architects of new age Drama. Mohan Rakesh's Aadhe Adhoore and Danish Iqbal's Dara Shikoh are considered modern classics.

Modern Urdu drama of India and Pakistan

Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiced by exponents like Nawab Wajid Ali Shah (1822 - 1887) of Awadh. His dramatic experiments led to the famous Inder Sabha of Amanat and later this tradition took the shape of Parsi Theatre. Agha Hashr Kashmiri is the culmination of this tradition.

Urdu theatre tradition has greatly influenced modern Indian theatre. Theatre has flourished in Urdu (which was called Hindi by early writers), along with Gujrati, Marathi, and Bengali. Urdu drama has had an important influence on Bombay Film industry and all the early works of Urdu theatre (performed by Parsi Companies) were made into films. Urdu dramatic tradition has existed for more than a 100 years.

Prof Hasan, Ghulam Jeelani, J.N,Kaushal, Shameem Hanfi, Jameel Shaidayi, etc. belong to the old generation, contemporary writers like Danish Iqbal, Sayeed Alam, Shahid Anwar, Iqbal Niyazi, and Anwar are a few postmodern playwrights actively contributing in the field of Urdu Drama.

Sayeed Alam is known for his wit and humour and more particularly for plays like 'Ghalib in New Delhi', 'Big B' and many other works, which are regularly staged for large audiences. Maulana Azad is his most important play both for its content and style.

Danish Iqbal's play Dara Shikoh directed by M. S. Sathyu is a modern classic that uses newer theatre techniques and a contemporary perspective. His other plays are . on the famous lyricist and revolutionary poet. Kuchh Ishq kiya Kuchh Kaam is another play written by Danish which is basically a Celebration of Faiz's poetry, featuring events from the early part of his life, particularly the events and incidents of pre-partition days which shaped his life and ideals. Chand Roz Aur Meri Jaan - another play inspired from Faiz's letters written from various jails during the Rawalpindi Conspiracy days. He has written 14 other plays including Dilli Jo Ek Shehr Thaa and Main Gaya Waqt Nahin hoon. Shahid's Three B is also a significant play. He has been associated with many groups like 'Natwa' and others. Zaheer Anwar has kept the flag of Urdu theatre flying in Kolkata. Unlike the writers of previous generation Sayeed, Shahid, Danish Iqbal and Zaheer do not write bookish plays but their work is a product of performing tradition. Iqbal Niyazi of Mumbai has written several plays in Urdu, his play AUR KITNE JALYANWALA BAUGH? won a National award other awards. Hence this is the only generation after Amanat and Agha Hashr who actually write for stage and not for libraries.

Chinese theatre has a long and complex history. Today it is often called Chinese opera although this normally refers specifically to the popular form known as Beijing opera and Kunqu; there have been many other forms of theatre in China, such as zaju.

Japanese Nō drama is a serious dramatic form that combines drama, music, and dance into a complete aesthetic performance experience. It developed in the 14th and 15th centuries and has its own musical instruments and performance techniques, which were often handed down from father to son. The performers were generally male (for both male and female roles), although female amateurs also perform Nō dramas. Nō drama was supported by the government, and particularly the military, with many military commanders having their own troupes and sometimes performing themselves. It is still performed in Japan today.

Kyōgen is the comic counterpart to Nō drama. It concentrates more on dialogue and less on music, although Nō instrumentalists sometimes appear also in Kyōgen. Kabuki drama, developed from the 17th century, is another comic form, which includes dance.

Modern theatrical and musical drama has also developed in Japan in forms such as and the Takarazuka Revue.

1. ^ Francis Fergusson writes that "a drama, as distinguished from a lyric, is not primarily a composition in the verbal medium; the words result, as one might put it, from the underlying structure of incident and character. As Aristotle remarks, 'the poet, or "maker" should be the maker of plots rather than of verses; since he is a poet because he imitates, and what he imitates are actions'" (1949, 8).

2. Wickham (1959, 32-41; 1969, 133; 1981, 68-69). The sense of the creator of plays as a "maker" rather than a "writer" is preserved in the word ^ playwright. The Theatre, one of the first purpose-built playhouses in London, was an intentional reference to the Latin term for that particular playhouse, rather than a term for the buildings in general (1967, 133). The word 'dramatist' "was at that time still unknown in the English language" (1981, 68).

3. by ^ Byron, for example, is a good example of a "dramatic poem." See the entry on "Byron (George George)" in Banham (1998).

4. Some forms of improvisation, notably the ^ Commedia dell'arte, improvise on the basis of 'lazzi' or rough outlines of scenic action (see Gordon (1983) and Duchartre (1929)). All forms of improvisation take their cue from their immediate response to one another, their characters' situations (which are sometimes established in advance), and, often, their interaction with the audience. The classic formulations of improvisation in the theatre originated with Joan Littlewood and Keith Johnstone in the UK and Viola Spolin in the US; see Johnstone (1981) and Spolin (1963).

5. Brown (1998, 441), Cartledge (1997, 3-5), Goldhill (1997, 54), and Ley (2007, 206). Taxidou notes that "most scholars now call 'Greek' tragedy 'Athenian' tragedy, which is historically correct" (2004, 104). Brown writes that ^ ancient Greek drama "was essentially the creation of classical Athens: all the dramatists who were later regarded as classics were active at Athens in the 5th and 4th centuries BC (the time of the Athenian democracy), and all the surviving plays date from this period" (1998, 441). "The dominant culture of Athens in the fifth century", Goldhill writes, "can be said to have invented theatre" (1997, 54).

6. The theory that ^ Prometheus Bound was not written by Aeschylus would bring this number to six dramatists whose work survives.

7. Bevington (1962, 9, 11, 38, 45), Dillon (2006, 213), and Wickham (1976, 195; 1981, 189-190). In ^ Early English Stages (1981), Wickham points to the existence of The Interlude of the Student and the Girl as evidence that the old-fashioned view that comedy began in England in the 1550s with Gammer Gurton's Needle and Ralph Roister Doister is mistaken, ignoring as it does a rich tradition of medieval comic drama; see Wickham (1981, 178).

8. George Henry Nettleton, Arthur ^ British dramatists from Dryden to Sheridan p. 149

9. ^ Hatch, Mary Jo (2009). The Three Faces of Leadership: Manager, Artist, Priest. John Wiley & Sons. p. 47.

10. ^ The Provoked Wife is something of a Restoration problem play in its attention to the subordinate legal position of married women and the complexities of "divorce" and separation, issues that had been highlighted in the mid-1690s by some notorious cases before the House of Lords.

11. Interconnected causes for this shift in taste were ^ demographic change, the Glorious Revolution of 1688, William's and Mary's dislike of the theatre, and the lawsuits brought against playwrights by the Society for the Reformation of Manners (founded in 1692). When Jeremy Collier attacked Congreve and Vanbrugh in his Short View of the Immorality and Profaneness of the English Stage in 1698, he was confirming a shift in audience taste that had already taken place.

12. Williams (1993, 25-26) and Moi (2006, 17). Moi writes that "Ibsen is the most important playwright writing after Shakespeare. He is the founder of modern theater. His plays are world classics, staged on every continent, and studied in classrooms everywhere. In any given year, there are hundreds of Ibsen productions in the world." Ibsenites include ^ George Bernard Shaw and Arthur Miller; Brechtians include Dario Fo, Joan Littlewood, W. H. Auden Peter Weiss, Heiner Müller, Peter Hacks, Tony Kushner, Caryl Churchill, John Arden, Howard Brenton, Edward Bond, and David Hare.

13. Reid-Walsh, Jacqueline. "Pantomime", The Oxford Encyclopedia of Children's Literature, Jack Zipes (ed.), Oxford University Press (2006), ISBN 9780195146561

14. ^ Webster's New World Dictionary, World Publishing Company, 2nd College Edition, 1980, p. 1027

15. Encyclopaedia Britannica

16. ^ Neog, Maheswar (1975). Assamese Drama and Theatre: A Series of Two Lectures Delivered at the Indian School of Drama and Asian Theatre Centre, New Delhi, April 1962. Neog.

17. ^ Neog, Maheswar (1984). Bhaona: The Ritual Play of Assam. Sangeet Natak Academy.

Bevington, David M. 1962. From Mankind to Marlowe: Growth of Structure in the Popular Drama of Tudor England. Cambridge, MA: Harvard University Press.

Bhatta, S. Krishna. 1987. Indian English Drama: A Critical Study. New Delhi: Sterling.

Brandon, James R. 1981. Introduction. In Baumer and Brandon (1981, xvii-xx).

Cartledge, Paul. 1997. "'Deep Plays': Theatre as Process in Greek Civic Life." In Easterling (1997c, 3-35).

Chakraborty, Kaustav, ed. 2011. Indian English Drama. New Delhi: PHI Learning.

Deshpande, G. P., ed. 2000. Modern Indian Drama: An Anthology. New Delhi: Sahitya Akedemi.

Durant, Will & Ariel Durant. 1963 The Story of Civilization, Volume II: The Life of Greece. 11 vols. New York: Simon & Schuster.

Easterling, P. E. 1997a. "A Show for Dionysus." In Easterling (1997c, 36-53).

Easterling, P. E. 1997b. "Form and Performance." In Easterling (1997c, 151-177).

Ehrlich, Harriet W. 1974. "Creative Dramatics as a Classroom Teaching Technique." Elementary English 51:1 (January):75-80.

Elam, Keir. 1980. The Semiotics of Theatre and Drama. New Accents Ser. London and New York: Methuen. ISBN 0-416-72060-9.

Goldhill, Simon. 1997. "The Audience of Athenian Tragedy." In Easterling (1997c, 54-68).

Gordon, Mel. 1983. Lazzi: The Comic Routines of the Commedia dell'Arte. New York: Performing Arts Journal Publications. ISBN 0-933826-69-9.

Harsh, Philip Whaley. 1944. A Handbook of Classical Drama. Stanford: Stanford UP; Oxford: Oxford UP.

Pandey, Sudhakar, and Freya Taraporewala, eds. 1999. Studies in Contemporary India. New Delhi: Prestige.

Rémy, Tristan. 1954. Jean-Gaspard Deburau. Paris: L'Arche.

Richmond, Farley. 1998. "India." In Banham (1998, 516-525).

Wickham, Glynne. 1959. Early English Stages: 1300-1660. Vol. 1. London: Routledge.

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Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's (c.

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An rehearsal is an activity in the performing arts that occurs as preparation for a performance in music, theater, dance and related arts, such as opera, musical theater and film production. It is undertaken as a form of practising, to ensure that all details of the subsequent performance are adequately prepared and coordinated. The term "rehearsal" typically refers to ensemble activities undertaken by a group of people. For example, when a musician is preparing a piano concerto in their music studio, this is called "practicing", but when they practice the concerto with an orchestra, this is called a "rehearsal". The music rehearsal takes place in a music rehearsal space.

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A rehearsal is an activity in the performing arts that occurs as preparation for a performance in music, theatre, dance and related arts, such as opera, musical theatre and film production. It is undertaken as a form of practising, to ensure that all details of the subsequent performance are adequately prepared and coordinated.

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A performance, in the performing arts, generally comprises an event in which a performer or group of performers present one or more works of art to an audience. Usually the performers participate in rehearsal beforehand. Afterwards audience members often applaud.

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Performance is completion of a task with application of knowledge, skills and abilities. In work place, performance or job performance means good ranking with the hypothesized conception of requirements of a task role, whereas citizenship performance means a set of individual activity/contribution (prosocial organizational behavior) that supports the organizational culture.

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My stage action is that i need to behave so Mr.Tom doesn't beat me

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What's the character super objective in this scene?

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What's the character super objective in this scene?

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My character super objective in this scene is that  I need to find a place to live.I also need to behave to Mr. Tom.
~William

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What are the issues that are tackled in this scene?

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What are the issues that are tackled in this scene?

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The issues that are tackled in this scene are the two following: mental health problems and war with its consequences. William's Mother has mental health issues and William is moving to another part of the country because of war and he lives with a stranger.

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The purpose of the scene is to bring awareness to the audience and show the effect of moving environments

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In this video these actors are dressed like soldiers. Their naturalistic acting is shown by their emotions:
1)Upset
2)Happy
3)Exited
4)By Doing Pauses

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can be just IT sometimes. www.anrainerblog.blogspot.com

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Goodnight Mister Tom is a movie about a kid moving to a strangers house because of war in Britain here you could get a example how naturalistic acting looks like by doing pauses by showing emotion and etc.

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Stanislavski in Practice - The Film - acting exercises

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Stanislavski in Practice - The Film - acting exercises

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"Stanislavski in Practice the Film takes you through the key areas of the Stanislavski system with practical exercises to help you work on yourself as an actor. Including exercises on imagination, tempo rhythm, free body and communicating using invisible rays. 'A must for any student of acting serious about their profession"

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Stanislavski in Practice - The Film - acting exercises

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In this extract from a live Platform event, Sam Mendes talks to Mark Leipacher about his approach to rehearsals.

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In The Video Robert De Niro Show A Brilliant Acting Advice In One Minute

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Robert De Niro - One Minute of Brilliant Acting Advice

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If only every actor understood this, movies would be much more compelling & realistic.

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"Actors can be dull as well as public appearances can be boring. Why does it happen? What should we do? As far back as 80 years ago Konstantin Stanislavsky found a solution. It was the Method. But few were those, who could explain its basics in a simple and clear way. We took a chance.
As we see it, we managed to. The three core principles of the Method:
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1. Super-objective (Why do we need it all?)
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2. Action (Only struggling is of the interest)
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3. Belief in circumstances (reel of imaging) in a simple animated video.
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It is useful both for novice actors and for anyone who wants to perform eloquently in public".

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In This Video Paul Brighton Tells How You Can Real Cry In Stage By Bringing An Old Memory Of Your Life

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Crying Real Tears - Acting Tips By Audition Portal