Act 1: The Birth of Theater in Ancient Greece

The roots of theater can be traced back to Ancient Greece, where it emerged as an integral part of religious festivals. The Greeks introduced the concept of a structured play with defined characters, dialogues, and a chorus. Playwrights like Aeschylus, Sophocles, and Euripides crafted timeless tragedies and comedies that continue to influence theater today.

Theater in ancient Greece was performed in open-air arenas, such as the famous Theater of Dionysus in Athens. Actors wore masks to portray various characters and relied on their voices and physicality to convey emotions. The chorus, consisting of singers and dancers, provided commentary and enhanced the storytelling.

Act 2: The Renaissance and the Globe Theater

Fast forward to the Renaissance period, and theater experienced a revival. Playwrights like William Shakespeare, known for his iconic Globe Theater, elevated the art of storytelling. His works, such as “Romeo and Juliet” and “Hamlet,” showcased the power of language and dramatic storytelling.

Shakespeare’s plays were performed in theaters like the Globe, which featured a thrust stage that extended into the audience. This allowed for an intimate connection between actors and spectators. The use of elaborate costumes and innovative stagecraft marked this era as a turning point in theater history.

Act 3: The Golden Age of French Theater

In the 17th century, France emerged as a theatrical hub. Playwrights like Molière and Jean Racine introduced new forms of comedy and tragedy, respectively. The French Academy also played a pivotal role in standardizing dramatic conventions.

Molière, known for his witty comedies, challenged societal norms through humor and satire. His play “Tartuffe” is a classic example of his ability to critique social hypocrisy. On the other hand, Racine focused on classical tragedy, with works like “Phèdre” that explored themes of passion and fate. French theater during this period emphasized the importance of proper staging, clear diction, and adherence to dramatic rules.

Act 4: The Birth of Modern Theater

The 19th century ushered in the era of modern theater. Henrik Ibsen, often referred to as the father of modern drama, challenged societal norms with plays like “A Doll’s House.” Meanwhile, Anton Chekhov introduced realism to the stage, focusing on the everyday lives of ordinary people.

Ibsen’s plays delved into controversial topics such as women’s rights, societal expectations, and the human psyche. “A Doll’s House,” with its exploration of a woman’s struggle for independence, was particularly groundbreaking. On the other hand, Chekhov brought a sense of authenticity to the stage by portraying the complexities of human relationships and emotions in works like “The Cherry Orchard.”

Act 5: Broadway Takes Center Stage

As the 20th century dawned, Broadway became synonymous with American theater. The Great White Way showcased a dazzling array of musicals and plays, attracting the best talent worldwide. Iconic productions like “The Phantom of the Opera” and “Les Misérables” continue to draw audiences.

Broadway theaters, such as the majestic Majestic Theatre and the historic Shubert Theatre, became landmarks of New York City. Advanced lighting, intricate sets, and elaborate costumes elevated the spectacle of Broadway productions. With its memorable songs and choreography, musical theater became a distinct and beloved genre.

Act 6: The Impact of Technology

The 21st century has witnessed a theatrical revolution with the integration of technology. From elaborate set designs to breathtaking visual effects, technology has elevated the immersive experience of theater. Shows like “Harry Potter and the Cursed Child” have pushed the boundaries of what is possible on stage.

Advancements in projection technology, sound design, and automation have allowed unprecedented creativity in set design and storytelling. Productions can now create immersive environments that transport audiences to fantastical worlds. While technology enhances the theatrical experience, it also poses new challenges for preserving the authenticity of live performances.

Act 7: Diversity and Inclusion

Contemporary theater reflects the changing social landscape. Diversity and inclusion have taken center stage, with plays and musicals addressing various issues, from racial inequality to LGBTQ+ rights. Productions like “Hamilton” have broken barriers and celebrated the contributions of marginalized communities.

“Hamilton,” created by Lin-Manuel Miranda, reimagined America’s founding history with a diverse cast and a hip-hop soundtrack. The show entertained and ignited conversations about representation and the power of storytelling. The theater industry has made significant strides in casting actors from diverse backgrounds and telling stories that resonate with a broader audience.

Act 8: The Future of Theater

As we look to the future, theater remains a dynamic and ever-evolving art form. Virtual reality and augmented reality promise to create entirely new theatrical experiences while the enduring power of live performance continues to captivate audiences worldwide.

Emerging technologies may blur the lines between the physical and digital realms, allowing audiences to step into the world of a play or musical like never before. However, the essence of theater, the live interaction between performers and the audience, will always be at its core. The future holds exciting possibilities for theater as it adapts and innovates in response to the changing world.

Conclusion

The evolution of theater from its humble origins in Ancient Greece to the grandeur of Broadway is a testament to human creativity and imagination. With each era, theater has adapted, transformed, and pushed boundaries, reflecting the changing world around it. As we celebrate its rich history and embrace future innovations, theater remains a timeless and magical art form that continues to captivate and inspire.

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Any idea invariably finds material form in the most unexpected place and in the most unconventional forms, whether it is an installation, graffiti, or a drawing or a sculpture made of recycled materials. Contemporary art has no boundaries, no inhibitions. It gives us food for thought, and with our reflections, we give ground for creating masterpieces.

Our blog is dedicated to bringing together in one place all of the most amazing and relevant material from the world of art. You are welcome!

The Evolution of Theater Art

The theater art form has evolved significantly over the centuries and offers a window into the cultural, social, and historical aspects of different time periods. From its beginnings in ancient Greece to the sophisticated productions of modern times, theater has undergone numerous transformations, embracing new techniques, styles, and ideologies.

The influence of theater on society cannot be understated, as it has the power to provoke emotions, challenge norms, and transmit stories that resonate with audiences across time. In this section, we delve into the fascinating history of theater art, exploring its origins, major milestones, and notable figures.

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Ancient Origins: Tracing the Roots

The origins of theater can be traced back to ancient civilizations, with the Greeks laying the groundwork for this art form. The theater of ancient Greece provided a platform for performances that combined music, dance, and spoken word.

During this period, famous playwrights like Aeschylus, Sophocles, and Euripides crafted timeless tragedies and comedies that explored complex human emotions, societal issues, and philosophical concepts. These plays were performed in open-air amphitheaters, engaging large audiences and showcasing the power of theater to evoke empathy and reflection.

The Renaissance: A Theatrical Revival

The Renaissance period in Europe marked a significant resurgence of interest in theater. The works of playwrights such as William Shakespeare became emblematic of this era, with their exploration of human nature, love, power, and morality.

The theaters of the Renaissance era introduced new staging techniques, elaborate costumes, and innovative set designs. The performances became more immersive, drawing the audience into the world of the play and creating a sense of shared experience.

Influence on Contemporary Art

The history of theater art has not only shaped the art form itself but has also had a profound impact on contemporary art in general. The ability to convey narratives, evoke emotions, and engage audiences has inspired artists across various mediums to explore theatrical elements in their work.

Theatricality in Visual Art

Many visual artists have incorporated theatrical elements into their creations, blurring the boundaries between the two art forms. Whether through large-scale installations, interactive exhibits, or performance art, these artists aim to captivate viewers and elicit a heightened sense of engagement.

Using props, costumes, and dramatic lighting, they create immersive environments that allow the audience to experience art in a similar way to theater. This fusion of visual art and theater demonstrates the interconnectedness of different artistic expressions.

Film and Theater Collaboration

The relationship between theater and film has always been symbiotic. Throughout the history of cinema, filmmakers have drawn inspiration from theatrical techniques, adapting plays and enriching them with cinematic elements.

Similarly, theater productions have been influenced by the language of film, incorporating video projections, dynamic camera angles, and special effects to enhance the theatrical experience. This cross-pollination between the two art forms has resulted in groundbreaking performances and movies that push artistic boundaries.

Exploring the Future of Theater Art

Theater art continues to evolve with the changing times, embracing new technologies, and pushing artistic boundaries. The digital age has opened up new possibilities for theater, allowing for innovative forms of storytelling and expanding the reach of performances.

Virtual Reality in Theater

Virtual reality (VR) technology offers a new dimension to theater, enabling audiences to immerse themselves in virtual worlds and interact with the performance. VR theater experiences transport viewers to unique settings, blurring the line between reality and fiction.

With the advancement of VR technology, the possibilities for creating truly immersive and interactive theatrical experiences are expanding. This exciting blend of technology and artistic expression holds tremendous potential for the future of theater art.

Social Issues as the Driving Force

Theater has always been a powerful tool for addressing social issues and sparking conversations. In the future, theater art is likely to continue exploring and tackling pressing societal challenges.

By using thought-provoking narratives, innovative techniques, and inclusive approaches, theaters can contribute to raising awareness, fostering empathy, and promoting positive change. The intersection of theater, activism, and social issues will shape the future landscape of the art form.

Conclusion

The history of theater art is a testament to humanity’s creative spirit and the ever-evolving nature of artistic expression. From its ancient origins to its influence on contemporary art, theater has had a profound impact on society and culture.

As we look to the future, theater art continues to adapt and innovate, embracing new technologies and engaging with pressing social issues. The possibilities for theatrical experiences are expanding, offering audiences ever more immersive and thought-provoking encounters.

At our blog dedicated to the history of theater art, we aim to bring you the most amazing and relevant material from the world of art. Join us to explore the rich tapestry of theater’s past, present, and future.

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What is Theatre?

Theatre is an art form that involves live performances by actors and actresses who portray characters in a story. These stories can be based on real-life events or purely fictional. Theatre also involves the use of props, costumes, lighting, and sound to create an immersive experience for the audience. The purpose of theatre is to entertain, educate, and evoke emotions from the audience.

History of Theatre

Theatre has been around for centuries, dating back to ancient Greece and Rome. The Greeks were the first to introduce theatre as a form of entertainment, and it quickly spread throughout Europe. During the Renaissance, theatre became more sophisticated, and the first permanent theatre was built in London in 1576. In the 20th century, theatre evolved into different forms, such as musical theatre, experimental theatre, and physical theatre.

Types of Theatre

There are many types of theatre, each with its unique style and purpose. Some of the most popular types of theatre include:

1. Musical theatre – A type of theatre that incorporates songs, music, and dance into the story.
2. Drama – A type of theatre that focuses on serious topics, such as love, death, and politics.
3. Comedy – A type of theatre that focuses on humor and making the audience laugh.
4. Experimental theatre – A type of theatre that challenges traditional theatre conventions and explores new forms of expression.
5. Physical theatre – A type of theatre that relies on the body’s movements and expressions rather than words.

Why Theatre is Important

Theatre is important for many reasons. It provides a platform for actors and actresses to showcase their talent and creativity. It also allows us to escape reality and immerse ourselves in a different world. Theatre can also educate and inform us about important topics and issues that affect our lives.

Furthermore, theatre has the power to evoke emotions and create a sense of community among its audience. It allows us to connect with others and share our experiences. Theatre can be a form of therapy, providing an outlet for emotions and a safe space to express ourselves.

The Challenges of Theatre

While theatre can be a rewarding experience, it also comes with its challenges. Actors and actresses must memorize lines, learn blocking, and work long hours to perfect their craft. Rehearsals can be intense, and the pressure to perform can be overwhelming.

Furthermore, theatre can be expensive, making it inaccessible to some people. It also requires a lot of resources, such as costumes, props, and lighting equipment. However, despite these challenges, theatre continues to thrive and captivate audiences around the world.

The Importance of Supporting Theatre

In order for theatre to thrive and continue to captivate audiences, it is important to support it. There are many ways to support theatre, such as attending performances, donating to local theatre organizations, or volunteering your time.

Attending theatre performances not only supports the actors and actresses but also helps to keep theatre alive in your community. It allows theatre organizations to continue to produce shows and attract new audiences. Additionally, donating to local theatre organizations can help to provide resources and support for future productions. Many theatre organizations rely on donations to continue their work and make theatre accessible to everyone.

Volunteering your time is also a great way to support theatre. Many theatre organizations rely on volunteers to help with various tasks, such as ushering, selling tickets, or helping with costumes and props. Volunteering can be a fun way to get involved in your community and meet new people while supporting a great cause.

In conclusion, theatre is a magical art form that has the power to entertain, educate, and evoke emotions from its audience. While it may come with its challenges, theatre continues to thrive and captivate audiences around the world. It is important to support theatre in any way possible to ensure that it continues to be a vital part of our communities for years to come. So, the next time you have the opportunity, go see a play, donate to your local theatre organization, or volunteer your time. You never know, you might just discover a new passion for the magic of theatre.

Conclusion

Theatre is a magical world filled with wonder, creativity, and emotion. It allows us to escape reality and immerse ourselves in a different world. Theatre has been around for centuries and has evolved into different forms, each with its unique style and purpose. It provides a platform for actors and actresses to showcase their talent and creativity while also educating and informing us about important topics and issues.

While theatre can be challenging, it is a rewarding experience that continues to captivate audiences worldwide. Whether you are a seasoned theatre-goer or new to the world of theatre, there is something for everyone to enjoy. So, sit back, relax, and let the magic of theatre transport you to another world.

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The Theatre: A World of Drama and Emotions

The theatre is where peeps come to see plays, musicals, and other live performances. It’s a world of drama and emotions, where actors portray characters and tell stories through their performances. The theatre is a place where you can LOL, cry, and feel a range of emotions, you know what I’m sayin’?

One of the most significant differences between the theatre and the casino is that the theatre is more traditional. It’s been around for centuries and got a mad rich history, yo. The theatre is a place where peeps go to appreciate art and culture, and it’s not just about entertainment. Watching a play can be a profound and thought-provoking experience, ya dig?

The Casino: A World of Excitement and Risk

The casino is where peeps go to gamble and try their luck. It’s a world of excitement and risk, where you can win big or lose everything. The casino is a place where you can play slot machines, table games, and card games like poker. It’s a place to party, know what I’m sayin’?

The casino is all about entertainment, and it’s a more modern form of entertainment compared to the theatre. It’s a place where peeps come to have fun and let loose. The atmosphere is lit, and the energy is high. The casino is a place where you can forget about your problems and enjoy the moment, ya know?

Similarities between the Theatre and Casino

Despite their differences, the theatre and casino have some similarities. Both worlds offer a form of escapism, where peeps can forget about their problems and immerse themselves in a different world. Both the theatre and casino also require a level of etiquette and behavior. In the theatre, you gotta be chill and show some respect to the performers, while in the casino, you gotta follow the rules of the game and be courteous to other players. And if you still want to play in an online casino, we recommend that you first read how to make a minimum deposit of 1 euro in a casino on the website – 1 euro casinos.

Another similarity between the two is that they both attract a diverse crowd. Peeps from all walks of life enjoy going to the theatre or casino, and it’s a place where you can meet new peeps and make friends, ya feel me? Yo, theater and casino are two ways to have a blast and have fun, you know? Even though they are mad different from each other, they share some similarities that make them appealing to different peeps.

Theatre is where people can go to see plays, musicals, and live performances. It’s an art form that’s been around for centuries and evolved into a complex and diverse world of storytelling, you feel me? It’s a place where people can experience a range of emotions, from LOL to tears. It’s also a place where people can learn about different cultures, history, and social issues.

Casino, on the other hand, is where people can gamble and try their luck. It’s an industry that’s grown immensely in the last century and is now a popular form of entertainment. People can play various games, from slot machines to card games like poker, and win or lose money in the process. The casino is also a place to party, dance, and enjoy the night with friends, you know what I’m saying? Despite their differences, theater and casino share some similarities that make them appealing to different peeps. Both offer a way to escape reality, where people can forget about their problems and immerse themselves in a different world. Both require a level of etiquette and behavior, where people need to show respect to the performers or follow the rules of the game and be courteous to other players. Both also attract a diverse crowd of peeps from diff’rent ages, backgrounds, and cultures, you dig?

Conclusion

In conclusion, the theatre and casino may seem like two different worlds, but they got some things in common, yo. The theatre is a place of tradition and culture, while the casino is a place of modern entertainment. Both worlds offer a form of escapism and require a level of etiquette and behavior, you know what I’m sayin’? Whether you enjoy the drama of the theatre or the excitement of the casino, both worlds offer unique experiences that are worth checking out. So go ahead and immerse yourself in the world of your choice – after all, life is all about having fun and creating memories, bro.

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Models for small theaters in the United States were the free art theaters of Europe, created on a collective basis by selling subscriptions and making membership dues.

In 1912 the first small theater appeared in the United States, and within a few years there were about 200 of them. The life of most such groups was short-lived, only a few of them managed to achieve relative stability, and their activities were of great importance to the development of American theater.

The pioneer of the movement was the Chicago Little Theater, organized with the participation of the young poet Maurice Brown in a small warehouse. The capacity of the hall was only 90 people.

Members of the theater company were not professionals, the usual stage clichés caused them a negative attitude. Working in the genre of poetic drama, staging the works of Euripides, H. Ibsen and I. Shaw, the actors and directors tried to find new means of expression, allowing to create full of life scenic images.

The Chicago Little Theater lasted about five years, but the work it had begun was continued in the work of such theater groups as Provincetown, Washington Square Players, and others.

In the summer of 1915, resting on the Atlantic coast of New York among other progressive young people talented writers John Cram Cook, John Reed and Theodore Dreiser initiated the creation of the theater “Provincetown”, the main objective which was the promotion and development of new American playwrights.

The organizational program outlined the group’s main goals: “the creation of a stage where a playwright with poetic, literary, and dramaturgical ambitions could oversee the production of his plays without submitting to the demands of a commercial entrepreter.” According to D. C. Cook, Provincetown was also necessary to “promote the writing of the best American plays and to stage each of those plays in the best possible way.

The one-act plays, written and staged in a short time, were an unprecedented success, and in the winter the Provincetown troupe traveled to New York with their performances. In the big city it was once again a resounding success. It is noteworthy that the Liberal Club has provided the young theatrists his room, as if to recognize their activities necessary for modern American society.

The following summer the theater resumed its work in the small seaside town of Provincetown, by that time the company had 30 members, the number of season ticket holders has grown to 87.

In July 1916 with “Provincetown” began to cooperate talented American playwright Yu. O’Neill. It was at this theater that his first and all subsequent works of the 1920s were staged.

In the autumn of 1916, “Provincetown” was transformed into the Playwright’s Theater (Playwright’s Theater), the activities of the amateur group turned to a professional basis. Gradually the number of season ticket holders also increased, and by 1917 there were already 450 of them.

Many American theater historians call the Provincetown the cradle of new drama. During the first six years of its existence, 93 plays were staged on its stage, and 47 of them were authored by American writers Y. O’Neill (16 plays), S. Glaspell (10 plays), John Reed, and others.

The productions of O’Neill’s plays were the highest artistic achievement of Provincetown. Note that the selection of actors, development of scenery for the plays and rehearsals were held with the direct participation of the playwright, and in one of the performances, he even played a small role.

Important innovations concerning stage design were tried at the theater. Taking the path of simplification and stylization of decorative design, directors and artists were looking for new techniques to expand the plastic scene, creating new lighting effects.

The play Emperor Jones was staged with such technical innovation as a rigid cyclorama with a dome made of reinforced concrete. Such a dome perfectly reflected the light, did not wrinkle and did not move when touched. In addition, this detail created the sense of depth required in all scenes of the play. Reaction to the production of Emperor Jones was overwhelming; the technical effects impressed audiences and theater critics alike.

Over the years, the Provincetown Theater has been the object of intense government scrutiny: it has closed several times, changed its name, but its purpose has remained the same.

Severe blow to the theater company was the departure from the leadership of D. C. Cook, for three years, beginning in 1923, was headed by a triumvirate – C. McGone, E. O’Neill and R. E. Jones.

At the same time is the expansion of the repertoire of the theater, overcoming its one-sidedness. With the help of O’Neill on the stage of “Provincetown” were staged works of European classics and creators of the new European drama ( “Georges Danden” Moliere, “Love for Love” Congreve, “The other side” Gasenklewer, “Sonnets of ghosts” Strindberg).

The glorious history of Provincetown came to an end in December 1929: the management was unable to cope with the financial problems it faced, which led to the dissolution of the company and the closure of the “first serious theater” in the United States.

An equally important role in the renewal and development of theater in the United States was played by the Guild Theater, based on the popular Washington Square Players troupe of 1915-1918.

The main goal for the organizers of the Guild was to create an artistic theater in America, free from commercial considerations. The focus here was on the development of new methods of acting and the development of staging techniques, based both on the best traditions of national art and on the achievements of modern European playwrights.

The theatrical program document stated that “the plays accepted for staging must have artistic merit, preference will be given to American plays, but we will include in our repertoire the works of well-known European authors, which have been ignored by the commercial theater.”

Initially the Gilda Stage was dominated by European productions, due to the relative scarcity of American drama, but gradually the number of national plays increased.

Philip Möller, who became head of the Guild Theater after the death of E. Reicher, was no less a talented stagehand. This man was not only a talented director and actor, but also a gifted scenic artist and author of a number of dramatic works. Möller, in love with the art of his native theater, refused to stage productions anywhere but on the Gilda stage.

Unlike many other directors who believed that acting was the result of hard work, Möller believed in intuitive art. The most important thing for him was the unconscious beginning that defied logic and sober calculation and was the source of inspiration for talented actors.

According to Möller, to achieve the best results during the rehearsals of a particular play, it was necessary to keep the perception of the work fresh. At the same time, almost without explaining anything to his actors, the director demanded that they feel the atmosphere and mood of what was happening. Möller’s most successful productions were those in which experienced actors took part, he was not able to work with young performers.

Many contemporaries called Philip Moeller “temperamental artist with inexhaustible imagination. In addition, he was a subtle psychologist who could read the souls of people and sharply feel all the shades and halftones, which has been of great help to him in the production of Eugene O’Neill’s works.

Under Möller’s direction, the Guild Theater has staged Rice’s “The Counting Machine,” Shaw’s “St. Joan” and “Androcles and the Lion,” Lawson’s “Singing Hymns,” “Strange Interlude” and O’Neill’s play “Mourning – Electra’s Fate.” All have been recognized as the Gilda Company’s finest artistic achievements.

The second half of the 1920s was the heyday of the theater “Guild”, at this time came the highest rise of its artistic and commercial success.

In 1925, the company moved into a new, specially designed building, the auditorium which was designed for 1000 people. In addition, an increased number of season ticket holders: in New York there were about 20 thousand and in the ten largest cities in America, which toured the actor’s company – 30 thousand.

Gradually in the “Guild” was formed a new acting school. The leaders of the theater were well aware that successful productions required a permanent company. It had to work under the guidance of a permanent director, and the repertoire of the theater had to be made sufficiently voluminous.

By the season of 1928/1929-ies in the theater company already had 35 people, and all the actors were divided into three groups, each of which was charged with performing two plays from the repertoire of the “Guild” in New York and the two largest cities in the United States. Gradually the productions of the Guild Theater came to be regarded as a standard of high artistic excellence, and many small theaters in the United States sought to reach their level.

However, unprecedented success caused a rebirth of the theater: by the mid-1930-ies among the directors of the Guild began to play a major role commercialists who care only about making large profits. These circumstances have led to significant changes in the repertoire of the theater: the emphasis was placed on cash productions, and the production of less profitable plays met with serious obstacles from the management. Thus, by the early 1940s the Guild had lost its former artistic and social importance, becoming an ordinary commercial theater.

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In the 1920s, there were 14 revue theaters in New York City, the most popular productions of which were plays by F. Ziegfeld. Soaking up the best of British and French samples, he was able to harmoniously combine this with the best traditions of American art “ministrall show” and burlesque, the result was the emergence of an integral artistic genre. One of Ziegfeld’s most significant innovations was the introduction of the “Girlz” (something resembling a corps de ballet).

The musical revue became a beautiful fairy tale for adults, luxurious, filled with dancing, songs and jokes, featuring beautiful girls. Amazing sets, several dozen “girls,” costume changes every 15 minutes, an artful combination of numbers-dances, songs, monologues, dialogues, and musical interludes-and the participation of famous stars in the productions did not help the musical revue stay in first place. Gradually, another genre, the musical, was gaining the most popularity.

According to American theater historians, the first American musical – “Clorindy – the land of the Kek-ook” – was put on stage as early as 1896 and was called “comedy with songs and dances. It is noteworthy that the production was made by only black artists: the music was written by M. Cook, the libretto – the famous Negro poet P. Denbar, directed by B. Williams and D. Walker. It was in this play a break with the traditions of the minstrel show, manifested in the introduction of a single plot.

In 1927, on the stage of one of the American theaters, the musical “Floating Theatre”, written by composer J. Kern and screenwriter O. Hammerstein. The plot unity, the presence of plausible scenery, extravagant characters, and the replacement of the corps de ballet beauties for naturalistic heroes this work is very different from musical revues of those years.

The formation of musicals in the 1930s followed a path of organic fusion of plot with stand-up numbers, music, drama, and dance. One of the most prominent figures of American theater, L. Bernstein, called one of the strongest aspects of the musical integration, that is, the desire to transform all components of stage expression (music, choreography and drama) in a single whole.

The role of dance in the art of the stage was first shown with particular expressiveness in the musical On Pointe, written in 1936 by R. Rogers and M. Hart. Balanchine succeeded in presenting the dance as an organic part of the action and not as a minor element.

The final fusion of the three most important components of the musical was achieved only in Rodgers and Hammerstein’s Oklahoma (1942). A distinctive feature of this work was the use of choreography to characterize the characters.

The musicals of the 1930s made it clear to audiences and the entire theater world that this genre could be not only light and entertaining, but also deeply meaningful, touching on various moral and political issues. As a genre the musical was finally formed by the early 1940s, which predetermined its heyday already in the first post-war years. By the end of the 1940s, the musical transcended national boundaries and began its victorious march around the world.

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The main theme of many plays was still the same tragedy of “little man” in modern society, in the first place went out and the theme of the people, the creator of history ( “Street Scene” (1929) and “We the People” by E. Reiss, “Scottsboro” (1932) Hughes, “Waiting for Lefty” K. Odets, etc.).

In addition, in those years the main content of many dramatic works was the struggle against war, the defense of life and happiness on earth (“Until Death” by C. Odets, “The Fifth Column” by E. Hemingway, “Bury the Dead” by I. Shaw, “Peace on Earth” by A. Maltz and D. Sklar, etc.).

One of the most popular playwrights of the 1930s was Clifford Odets, whose work expressed the social problems of his contemporary society. The play “Waiting for Lefty,” written under the impression of the stories of striking drivers about their plight, and which became a major event in theatrical and public life of the United States, was a kind of herald of the mood that swept the country.

In 1935 three more dramas by Odets were staged at the Group Theater – Wake Up and Sing, Paradise Lost and Till Death, but the play Golden Boy, written in 1937, is rightly considered the best work of the playwright. The accessibility and simplicity of this work gives the impression of a certain primitivism, but it reflects the real life of ordinary Americans.

The play’s melodramatically poignant conflict touches on two issues, vocation or money, music or boxing. The main character Joe Bonaparte, dreaming of climbing the high rung of the social ladder, becoming famous and rich, refuses, against the will of his father, his true vocation – music. Joe’s belief in the possibility of becoming happy by achieving fame and recognition seems to be the embodiment of many Americans’ dream of an equal opportunity society.

The hero’s choice, however, seals his sad fate. Boxing brings Joe not only fame and money, but also makes him a slave to entrepreneurs and patrons like Eddie Fuseli, forcing him to give up music, which results in a moral decline. Realizing that he has crippled his fate, the hero deliberately rushes toward death. He dies in his luxurious car, which he once considered the epitome of happiness and success in life.

After “Golden Boy” in the life of the playwright began a new, Hollywood period of creativity, marked by a transition to traditional themes and the usual form of family drama (“Rocket to the Moon,” 1938; “Night Music,” 1940; “Clash of the Night,” 1941; “The Big Knife,” 1949, etc.). In the last years of his life Odets gave up creativity and died, forgotten by all.

No less famous American playwright in the 1930s was Lillian Hellman. Having begun her career in cinema, she soon moved on to writing poignant social theatrical plays.

In 1934, the stage was put on the first drama L. Hellman called “Children’s Hour,” it has caused mixed reviews, many critics have seen in this work a number of weak points. The next play “The Day Will Come” (1936) was more successful, it expressed the desire of the author to understand the forces that govern the world and people.

In 1938, L. Hellman has created his best creation – a family drama “Foxes,” which has become a classic work of American theater. Using the example of the Hubbard family, the author demonstrates the all-consuming power of money, which destroys the best in people, burns out such feelings as love and kindness in their souls, tramples the moral laws.

The second part of the dilogy “Beyond the Woods” (1946) is a prehistory of the characters of “Foxes”, a time of formation of their characters, their past, from the perspective of which one can better understand the present.

In the plays “Gust of Wind” (1944) and “Guard on the Rhine,” written on the eve of the entry of the United States in World War II, and addressed to Americans who have not yet understood the bestial nature of fascism, Hellman went beyond the traditional family drama, combining the usual form and theme with historical narrative, giving a broad picture of political life in European countries in the 1920s – 1940s.

In the postwar years, Lillian Hellman worked mainly in translating various plays, writing film scripts and autobiographical memoirs.

The famous American playwright Thornton Wilder, a historian by training and familiar with the peculiarities of Eastern and European culture, worked in a somewhat different vein. In his opinion, the most important thing was to instill in the young American theater the great traditions of antiquity, the Renaissance, and European literature of the New Age. It was this direction that Wilder chose as the field of his creative activity.

In the 1920s and 1930s he wrote several one-act plays, many of which were later included in the cycles The Seven Deadly Sins and The Seven Ages of Human Life. Wilder’s best works were the plays Our Town (1938), The Merchant of Yonkers (1938, in a revised version it was called The Matchmaker), and On a String (1942).

Wilder is considered the creator of the intellectual American drama, his works are often called parables for the glory of man. The talented playwright’s work was not recognized in the 1930s, many critics felt that Wilder walked away from the problems of the modern world, but his plays had a kind of response to what was happening both in the United States and in the world.

Wilder’s best creation is considered to be the play Our Town, set in the small town of Grovner Corners, New Hampshire, United States, continent S. America, Western Hemisphere, Earth, Solar System, Universe, Soul of God. The play, consisting of three acts (“Everyday Life,” “Love,” and “Death”) and a prologue announcing the birth of children, narrates the three human states of birth, life, and death.

Many of Wilder’s works are characterized by didactic and episodic constructions, the only thing that draws attention to them is a subtle humor that allows to demonstrate real human feelings, to inspire faith in the triumph of goodness.

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The famous writer Sinclair Lewis commented on the importance of O’Neill’s work: “His merit to the American theater is merely that in a matter of 10 or 12 years he has transformed our drama, which was a neat and deceitful comedy and has revealed to us … a terrible and grandiose world.

Eugene O’Neill, son of the famous American actor James O’Neill, from childhood was familiar with the atmosphere and order prevailed in the national theater. This fact predetermined his negative attitude to the commercial theater.

In the life of the famous playwright, not always everything was smooth: after a year at Princeton University, he was forced to go to work (was a clerk in a trading firm, a reporter, an actor, a sailor and even a gold digger), but a serious illness forced him to change the occupation. Soon O’Neill wrote his first, far from perfect, play.

In 1914, wanting to master all the mysteries of European drama, the young man began attending lectures on the history of drama by Harvard University professor J. P. Baker. In the same year O’Neill published his first dramatic collection entitled Thirst, which included numerous one-act plays depicting the realities of modern life.

However, no theater dared to put on their stage works O’Neill, which are in great demand among readers. Only in 1916, drawing closer to the Provincetown Theater, which will be discussed below, a talented playwright was able to stage almost all of his one-act dramas.

The heroes of O’Neill’s works were sailors and dockers, fishermen and farmers, stokers and gold diggers – people of different social backgrounds, with different skin colors, and the prototypes of these characters were real people.

One of the most successful plays of the young O’Neill is “Whale oil” (1916), the action unfolds on board a whaling ship, lost in the ice. The crew of the ship, dissatisfied with their fruitless two-year voyage across the vast ocean, asks the captain to turn the ship home, and his wife begs him to do the same. But Captain Keeney is unforgiving; something in his mind compels him to keep on going, overcoming all obstacles.

Gradually the playwright is moving from a one-act to a multi-act play, allowing to give a broader picture of real life. O’Neill’s first multi-act work was the play “Beyond the Horizon” (1919), which marked the beginning of a new phase in the work of a talented playwright. The playwright often said: “Theater for me – this is life, its essence and explanation. Life is what interests me above all…”

During this period, Eugene wrote a number of realist and expressionist plays (these two areas in harmony in the work of a talented playwright, which was a characteristic feature of O’Neill′s works in the 1920s): “Emperor Jones,” “Gold,” “Anna Christie” (1921), “The Cosmic Monkey” (1922), “Wings Given to All Children of Man” (1923), “Love Under the Elms,” etc.

In his expressionist plays (The Shaggy Monkey, Wings Are Given to All Children of Man, etc.) O’Neill touched on the acute social problems of the modern world, while striving to fully reveal the characters of his characters. The main thing that the playwright praised the expressionism – dynamism, rapid development of events, keeping the audience in constant tension.

An interesting innovation of O’Neill was the use of masks in productions, with which the necessary effects were achieved, demonstrated the contradictions between the true nature of the hero (face for himself) and his external face (mask for others).

In the period from 1934 to 1946, none of O’Neill’s works were staged at American theaters, nevertheless the playwright worked extensively and productively. At this time he had written a philosophical and symbolic dramatic parable “The Ice Seller is Coming” (1938), autobiographical plays, “Long Journey Into Night” and “Moonlight for the stepchildren of fortune,” a philosophical cycle of works “The Story of the owners who robbed themselves, from which only two plays remain – “The Soul of a Poet” (1935-1939) and the unfinished work “The magnificent buildings. This cycle was the embodiment of the main theme of the playwright, which is present in his entire creative heritage – the rule of money and property, which results in a loss of spiritual purity and moral values.

Eugene O’Neill’s work has had a great influence on both new American and world drama. In 1936 O’Neill was awarded the Nobel Prize for dramatic works full of vitality, intensity of feelings and marked by an original concept of tragedy, thereby receiving recognition for his services in the field of stage art.

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The first decades of the XX century were the time of formation of American drama, far behind in its development of the European. This fact has predetermined the rapid flowering of American theater in subsequent years.

Unlike Europe, where before the advent of the new drama, literature was developing much faster than drama, in American culture there was a sharp divergence between theater and literature.

In those years, when Mark Twain’s naturalistic realism continued in the works of T. Dreiser and E. Sinclair, the theater continued to be dominated by the “tradition of decency. Romantic melodramas and sentimental, overly sugary plays like L. Riggs’s Irish Rose of Abbey were staged (this play was a success with American audiences for five years).

At the end of the nineteenth century, the U.S. theaters were dominated by a commercial system, and the art scene was dominated by entrepreneurial entrepreneurs, who focused on traditional audience tastes and did not allow anything new to be staged. All theatrical figures, whether actors or playwrights, and all theatrical critics, were dependent on the rich businessmen who ruled the stage.

Many American writers, including Mark Twain, Jack London, and Bret Garth, turned to the dramatic genre, but pressure from entrepreneurs forced them to refuse to write theatrical plays.

In 1896, a theater syndicate was organized by the forces of entrepreneurs, and in 1905 another major theater organization, the Schubert Brothers Concern, emerged. As a result, the U.S. stage arts were divided between two competing parties.

Soon the official authorities abolished the theatrical syndicates and concerns, but the stage arts remained in the hands of family companies (the Froman Brothers company, which owned six New York and five London theaters, the Schubert Brothers Concern, which in the early 1930s owned 35 theaters).

In the opinion of commercial entrepreneurs, it was more profitable to show a single show throughout the season, which was a success with the audience, than to maintain a permanent theater. As a result, despite the resistance of progressive artists, many permanent theaters were closed, the companies broke up.

Only on Broadway continued to thrive theaters for a long show of one performance, which involved specially selected actors.

In the second half of the 1930s it was noted in the American magazine Tiatr Arts that there were no professional troupes left in the United States on a permanent basis.

A particular play was staged as long as it brought in a high income, then the troupe began touring American cities. A play that did not receive wide popularity, usually withdrawn a week after the first show, and the troupe disbanded.

Thus, in the season of 1938/1939 out of 33 premiere performances staged in Broadway theaters, 19 were unsuccessful and were immediately removed from the repertoire, the rest lasted until the end of the season.

The record-breaking musical “Hello, Dolly!” was presented on the stage of a Broadway theater 2,844 times.

The commercial system contributed to the fact that at the beginning of the twentieth century the theatrical art of the United States was in deep crisis, lagging behind the world by about 50 years.

Thus the turn from romantic melodramaticism to the realities of modern reality in the United States theater art was not possible under the conditions that prevailed at the beginning of the twentieth century.

Only the emergence of small theaters in the mid-1910s made it possible to begin reconstructing the obsolete theatrical art of the United States. New dramatic plays began to be staged on the stages of small theaters, and an audience circle of its own appeared.

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Broadway musicals that have come off the stage have often been adapted, such as: “My Pretty Red Lady, Jesus Christ Superstar (both 1972), and Hair (1979). Broadway plays are a special kind of theater, designed, of course, primarily for success, for the tastes of mass audiences. This does not mean, however, that Broadway theater is bad. It is just completely different from European theater, and you can not compare them. The combination of song and dance, the sharp plot, the charming, feisty and temperamental characters, the melodies that are easy to remember – all of this attracted and still attracts audiences. For several years, musicals such as A. Lawrence and L. Bernstein’s West Side Story (1957), about a modern-day Romeo and Juliet, did not leave the stage. Participating in a musical requires the actors to be versatile talents, and they always work with full dedication. The rigid selection of actors for Broadway musicals generates tragic situations and at the same time reveals the essence of the national American character – the thirst for risk, tenacity, the passion for success. It is not by chance that two popular American films are devoted to the casting selection procedure: All That Jazz (1979) directed by Bob Fosse and Chorus Line directed by Michael Bennett. It is both an adaptation of a Broadway play and a dramatic account of an actor’s fate. The best Broadway musicals are poetic, but they have a very active, even aggressive effect on the audience – the actors speak directly to the audience, the prose dialogue is suddenly replaced by singing and dancing, the whole performance is marked by heightened emotionality.

“The Living Theater, founded in 1951, was a sharp contrast to Broadway. Since that time the history of Off-Broadway scenes can be traced. The new company was headed by Julian Beck (born 1925) and Judith Malina (born 1926). This theater presented to American and later European audiences the most daring and consistent version of the theatrical avant-garde. The performances were striking in their frankness, in breaking all prohibitions, and in the unusual manner of the actors, who either portrayed something or remained . The main motive behind the performances (which determined their form), was an all-encompassing protest-against the familiar everyday life, against self-righteous infallibility, against the claims of the authorities to establish a world order. And it didn’t matter what that freedom was or who it should be bestowed on: the black population of America or the Koreans and Vietnamese, the Czechs, the young guys who craved love without marriage, the lovers of nightlife… Freedom now! No reservations! At first, the Living Titre plays were played in the attic of a house on the corner of Broadway and Hundredth Street. Julian Beck did not agree with Stanislavski’s interpretation of the Actor’s Studio system; he needed a bigger change. In Beck’s view, it was necessary to get to the heart of the theatrical spectacle. New models and new theatrical gods were needed. Antonin Artaud and the aesthetics of the “theater of cruelty” that directly affected the psyche of the audience were recalled. The authorities were dissatisfied with the work of the troupe: Livintietre was closed, as always happens in such cases, “for financial reasons,” and its creators were briefly imprisoned. On release, Beck and Malina left the United States for good. Their company became the first avant-garde theater on the European continent after World War II. Between 1964 and 1968, the Living Theatre performed in twelve European countries.

A youth protest movement was gaining momentum in Europe at the time. The contradictions that had accumulated in the more than two decades since the end of the war were manifesting themselves very violently. Students were taking over universities, young people were leaving the cities, creating settlements, and in the spring of 1968 barricades grew in the well-groomed streets of Europe. In such an atmosphere, the Living Tribute performances that defied conventional moral and political norms came in handy. Beck suggested working in a new way, by the method of collective creativity, improvising. This is how the play Mysteries and Seven Passages (1964) was created. The stage was replaced by the stage – an actor appeared on it, who for a long time, without saying a word, looked at the audience. Then other actors appeared among the audience; seeing the general discontent, they “warmed up” the most indignant spectators. A new group of actors would come on the stage, hold dollars in their hands and read monotonously the words printed on the banknotes, while one actress would sit in a lotus pose and recite a text in Sanskrit. Naturally, the audience didn’t understand and became indignant and noisy. Then they were invited to the stage to mingle with the actors and become part of the action themselves. And in the finale, remembering Artaud’s work, the actors portrayed people afflicted by a terrible disease. They were squirming, begging the audience for help, crawling to their feet, moaning in agony – and it was as if they were dying. The “survivors” stacked the “corpses.” The actors played so naturally that their “deaths” brought the audience into a state of shock, and they left the room, carrying away in their memory the terrible picture of universal death.

The American avant-garde gave birth to a new form of performance – the so-called extraverbal (from Latin verbalis – “oral,” “verbal”) theater. During the last thirty years of the 20th century this type of theater spread all over the world – from Scandinavia to Italy, from Brazil to Indonesia. There are many reasons for this, but one of them, with the sharpness and straightforwardness characteristic of American theater innovators (although with the support of scientific works), was formulated in the mid-1960s: words lie, speech is deceitful, and the body tells the truth. Even today, theater innovators on both sides of the ocean preach similar slogans.

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