MR+Realism

Checkvo’s //The Cherry Orchard// shows many elements of realism as it captures the culture of the older European Era. Costuming is one of the main features. The characters are clad in warm winter coats and luxurious furs, because they state that they are in the middle of the winter in Russia. The women wear long dresses with high necklines that keep them modest, and almost all of them wear their hair in some form of braid. The scene is rather luxurious, with carved wooden furniture in the set, and a live dog used as a prop. Even the maid has a fancy costume. But the characters discuss that the family is now poor, so they must sell off their luxurious estate. There is also a theme of marriage arrangements, as three different ones are discussed. For women of this time, this was a major issue in their lives, and it is realistic that the women focus so much on the main issue.

Like Checkvo’s piece, Ibsen’s //Hedda Gabler// is also realistic to its time period. This video involves a typical slice of life for an older woman of this time. Yet unlike Checkvo’s, //Hedda Gabler// has a much more feminine design. The set is more extravagant and frilly, with flowers on vases, doilies on the piano, and a charming wood burning stove. The women are still in long skirts and high necklines, but are adorned with more patterns and lace. A top their heads they wear frilly bonnets instead of fur hats.

Strindberg’s //Miss Julie// is unlike the previous two. It’s the first video shown in color, with warm yellow washed tones on the cabinets, contrasted with the lush green potted plants and dark blue night sky seen through the French doors. It’s also set in the kitchen of an estate, where only the servants go, instead of the fancy drawing rooms of the wealthy families. This whole scene, starting with the kitchen set, is a sort of behind the scenes look at the wealthy lives. The two characters discuss gossip about the lady of the House, Miss Julie. They remark on her broken engagement, a typical source of scandal in this time. They also discuss how Miss Julie is not very ladylike because she dances in stables with her servants, stays in with the help instead of visiting her father, and was rather cruel and forceful with her fiancé. Women of this time were supposed to be sophisticated, gentle, and not outspoken, so Miss Julie is quite the opposite of a lady. Yet she is still fortunate with her money, for her cook works in an enormous kitchen and pantry, and the male character wears a coat, top hat, and riding boots, signifying his elevated status.

Hickey’s monologue from Eugene O’Neill’s //Iceman Cometh// holds many elements of realism. The monologue takes place in a tavern or cafeteria of sorts with chairs and tables and people. Although Hickey speaks to them, they try to ignore him. Hickey’s monologue is more for himself than for the other characters. He likes to hear himself talk. He speaks about how he is restless. To emphasize this, he claps his hands or snaps his fingers our uses giant hand motions every few lines. There is a juxtaposition between his loud, rueful tone and his soft and sensitive voice. The latter is reserved for his love, Evelyn. He speaks about her kindly, and then spits out hatful words about her family that keeps the pair separate. The elevated dramatic effect is unlike the more subtle realism videos, but the subject matter is the same: revolving around marriage arrangements.

Edmund’s journey in //Long Day’s Journey Into Night// has some concrete and intangible elements. It’s obvious the scene is set in the evening. The young man is still dressed from evening dinner, but his tie is loosened and collar unbuttoned. The older man wears a smoking jacket and ascot, appropriate night clothes for this century. Then men are having a nightcap or after dinner smoke just before they go to bed, when the young man starts to express his desires. In his profound speech, he expresses that he wants to be more connected with the real world, with nature. He would much rather be a simpler being that could be closer to the sea and sun, like a seagull. Although his prose is profound, the young man is frustrated with himself because he does not have strong enough words to express his feelings. Although this setting is realistic to the time period, the character speaks of realism as “feeling more” and “getting more out of life”.

This video of Arthur Miller’s //Death of a Salesman// makes the concept of realism a little harder to grasp because it is only audio. There is no visual, and without the visual we miss the crucial details that relate a truth of human existence. But Arthur Miller’s brief interview describes that the play is very imagery oriented. The play itself rose from images, common images like a frame house in a neighborhood. The character’s dialogue reveals some truths of human existence. Willy’s labored breath highlights his unwillingness to go on with his life. His wife Linda lives in denial and refuses to believe there is anything wrong with her husband. She makes up excuses: the fact that Willy kept driving on to the shoulder is the fault of the broken steering on the car, and he can’t see due to his glasses. She refuses to see that he is depressed.

This scene from William’s //The Glass Menagerie// incorporates one of the most common, yet passionate parts of human existence: arguing. The son and his mother yell at one another, pointing out each character’s flaws. The argument doesn’t go anywhere, except for maybe louder, because the two characters are both too selfish to admit their faults. The mother sits around at home and does not contribute to paying the rent on the apartment, yet she still feels the need to be in charge, loudly and forcefully reprimanding her son, taking away his books and saying she “won’t allow such filth in her house.” The son is not a saint either. He lies and abandons his family every night to got out on the town for nights of wild partying. He blames his partying behaviors on the cruelty and boredom he receives at home. In the end their argument ends in destruction, as the son knocks over a glass unicorn. The unicorn is shattered, just like the family’s relationship.

This video was a very short snippet of David Mamet’s //Oleanna,// so it was hard to receive a full theme of realism. The costumes, with the female student in her sneakers and full backpack, and the male teacher with a suit and a tie, were realistic. The set, particularly the desk covered in papers and a laptop, looks as if a real teacher sits and works there. But the dialogue is misleading. The character’s uneven flow suggests that the conversation is candid, but the actors are so obviously projecting their voices and using their clear stage speaking voices that the illusion of an unscripted conversation is lost. On screen, the actors wouldn’t have to project, and maybe the message of talking over each other could be believably carried out. A film would also hold more detail that clarified what the play was about. For example, I can tell the girl is a student, but as to college or high school, I’m not sure.

Like //Oleanna, Glengarry Glen Rose// is just a short snippet of realism that is hard to follow. This video has been altered and starts to repeat itself, so the subject matter becomes distorted. But there are still elements of realism. The two characters are obviously in a bar, although little of it can be seen. Jazz music plays in the background while the men smoke cigarettes and munch on bar pretzels. Unlike the older European pieces, the characters of //Glengarry Glen Rose// discuss deeper and more vulgar topics than wedding arrangements. They consult about stealing and gambling.

The scene from Sam Sheoard’s //True West// gives an accurate depiction of two young men from the 70’s. The bulky typewriter and large glasses are clues that mark the time period. This clip also involves the human truth of bitterness. The character who drinks disputes every subject with the other character, and complains about almost everything. His seedy nature seeps out as he hints at stealing the woman’s junk. He is obviously frustrated that she locks up her belongings, that she keeps thing from him. The beer in his hand emphasizes his bitter mood. His somewhat tipsy nature follows the stereotype of the angry drunk man. This mood contradicts the bright sunny room full of lush green plants, as birds chirp and children play in the background. The set is almost synonymous with //Miss Julie,// both take place in a bright yellow kitchen. But //True West// carries much deeper themes.

Lastly, August Wilson’s //Fences// is the most dramatic of the videos. Although it lacks many details, like a background to their set, its subject matter is all too common. The son character feels abandoned by his father and asks why his father does not like him. The bitter, beaten down father radiates that he has little patience. He does the things for his son, like feed him and clothe him, not because he is loves his son, but because he is obligated to. For a man with a rough life, it is hard to hold any love or hope. His dramatic words are further emphasized by his booming voice that shakes the son character. Their roles on stage are obvious, oppressive father and scared son. They highlight their heritage by speaking in a thick African American accent and use racial slurs. This piece is realistic to its time period just as the older European videos were. But subject matter for theatre has opened up to incorporate darker themes. This slice of life from //Fences// shows the brutal, yet not uncommon, nature of human existence.