3420 Day 5
Theater of the Absurd, and Brecht’s Epic Theater

Absurdist Themes (from last time)--from Theater Database:

Rhinoceros and absurdism



Notes on pitches and how to get stageable realism; notes on Dialogue

Restorative 3 act structure

More of A Doll's House (part 2 on ereserve--if Nora is hinting to her nanny that she's going to be gone, how will she leave? Death? Suicide? Murder? By simply walking away?);

Six Degrees--the stage vs the Movie; subtext and misinterpretations; what the characters want on the surface vs. what they want at a deeper more complex level...

Your beginning dialogue...What do they avoid talking about--subtext (and how do they hint at this)? What do they hear when other's speak--what do they misinterpret as they hear only what they want to hear? Who are your characters? Where are they from? What do they sound like? What words or phrases do they repeat? What do they want on the surface? What do they really want that they've been having a hard time getting?


--ideas from Pitch 2: characters changing or dealing with emotional truths in the face of conflict; in conflict; characters who want something very badly; Egri; "write about people only when they have arrived at a turning point in their lives." Vonnegut: "to make their characters want something right away" (NP 1)...

Premises from Lajos Egri...drama is emotion, but a premise is an emotion with a goal

Quotes on theater and Ibsen by Minnie Maddern Fiske

1. Henrik Ibsen's "realism" and A Doll's House
2. A Doll's House from 1959 with Julie Harris; The opening scene of A Doll's House from 1973 with Claire Bloom which was around the time of the burgoning women'smovement)--what big differences do you notice? which one compells you more, and why?
3. Anton Chekhov the Hyper-Realist (or is he a modernist?); Tolstoy hated his plays; Read/See Checkhov's plays here: The Seagull (text); The Seagull--a scene from Act III; The Seagull on another stage (a play within a play? meta?)

--thinking about premises/themes--some of you tried thinking about this in your pitches (NP p. 3, p. 104)--the broad cliche or message of the play (unless you are doing something more absurd, questioning the idea of a message in a play);

plots and premises have all been done (or have they?)