Scene work, week 2, block 1: Reinvention of the Greeks

Objective: Greek drama, like epic, was designed to be performed: interaction with audience (political community), religious observance, outdoor venue, daylight—all played a part. Philosophers Plato and Aristotle worked out a political theory accounting for affects we can recognize--pity, terror and ridicule. Either these affects interfered with virtuous life or they could be mobilized—purified/purged via catharsis--for community benefit. This project allows us to place our bodies and voices, along with our minds, in relation with these phenomena and purposes.

Group project—perhaps the same as the annotated bibliography groups. 4 goups of 4. Each student will take, in addition to an acting or chorus part, one of the following production roles:

• dramaturg: responsible for interpretation of the play and your scene within the play—historical background, issues both then and now that the play addresses, theatrical background
• director: responsible for the visibility and audibility of the scene, placement of actors and chorus, moves; works out an interpretation in consultation with dramaturg, runs rehearsals
• choreographer: responsible for designing and organizing dance or dance-like motion—if choral song-dance is a big part of the scene you choose, this function could take over either one of the two remaining functions (designer, costumer) or, indeed, the director function itself
• costumer: responsible for the look of the actors and chorus on stage—given the time constraints costumes will probably not be elaborate but they should reinforce interpretation and support actors in their roles
• designer: responsible for what is visible and audible other than the actors and chorus themselves—if there are scenic effects, properties etc., if there is instrumental music or other sound effects, works them out

Athenian theatre made use of up to three speaking actors (only); a chorus of 12 or 15 was integral, and its leader(s) entered into dialogue with the actors on stage. We will use as many actors as the scene requires, including a chorus leader as the lines require, and the whole group will act as chorus.

The sequence should be more or less as follows:

· Production meeting: distribute the four production functions, decide on a text to produce, consult with director as to casting (director should make final casting decisions), agree on plans for dramaturgical research and costume, scenic and sound design.

· Dramaturg asap works out major interpretive recommendations based on research; director presides at read-through; costumer and designer work on their designs—all within the schedule of read-through and first rehearsal.

· Rehearse until director (consulting with dramaturg) finds that play is ready to go.

· Before Thursday or Friday performance, do a dress rehearsal. After performance, dramaturg leads the q & a.

· To hand in after performance:

o dramaturg’s notes on the theatrical and other historical and philosophical issues of the production

o program including lists of cast and production roles

o all students will hand in evaluations of each performance (including their own) and professor may grade the four production functions as well as the acting, in addition to awarding a single overall grade to the whole production which will be shared by all participants.

Resources for interpretation: Aristotle’s Poetics and Plato’s Republic, books 2-3 and 10, with notes by Janko and Bloom, should form the basis for your interpretation, though dramaturgs may range more widely and justify doing that. Start your historical interpretation from the essays in Browning, but you are free to add further information about the playwrites and the times. If you choose to relate your text to some particular later era, you must justify that and do adequate research on the era you choose.

Scene evaluation form—Reinvention drama week ________________________

your name

Scene you are evaluating: ________________________ use letter grades or √ + -

Evaluate the scene’s preparation: historical validity

adequacy of rehearsal

quality of design—general look

costumes

sound

comments on preparation:

How well did the scene establish its significance for a tragic or comic plot?

How well did the actors establish their characters?

How well were the lines delivered?

Did you experience a tragic or comic catharsis?