JHPlay

Question 1. Imagine you were sitting in a small hall watching a production of the play you heard read in class. Then consider the filmed production found below. In what ways has the film maker revised Beckett's instructions given in the text to suit the medium of film and how does that change your reception of the play?

If I was sitting in a small hall watching the play, i would expect it to be done with a fair amount of loyalty to the text, including stage directions. The director of the filmed production took some liberties with Beckett's //Play//, including lighting and set design. As called for by Beckett, spots are supposed to light the character that is speaking. Instead, the filmmaker decided to use camerawork, i.e. sharp cuts from one character to another and closeups in lieu of the lighting, which would have disrupted the somber scenic atmosphere he created. Closeups and shots from different angles were also used, which added variation to the otherwise monotonous dialogue. I think this caused some of Beckett's message to be lost because the piece became more interesting. Regarding the staging and scenery, the urns were slightly staggered and separated, in defiance of the playwright's instructions for them to be touching; and extra urn people filled the background in a regular pattern. Also, sound effects and titles were used. Film is an inherently realistic medium and some necessary alterations must be done in making a filmed production of //Play//, which is an extremely theatrical work. I enjoyed the film of //Play//, which managed to keep much of the theatricalism of the script. I think it was done very well, especially the makeup, though, as I said before, I feel that the essence of //Play// was somewhat diminished by the director's choices.

Theatricalism is a response to Realism. Instead of creating an illusion of reality as realistic plays try to do, theatrical, or non-realistic plays are very upfront about theatrical devices and try to shatter any illusion an audience member may have. Theatrical productions do not wish to provide catharsis for audience members and can be extremely avant-gard. __Acknowledgement that a play is being performed__ __& Visibility of stage machinery__ This is done through a variety if techniques, including presentational staging, which is staging that makes clear use of the theater's resources and recognizes that the audience is aware of theatrical manipulation. __Vivid imagery and heightened language in the text of the play itself__ Theatrical plays tend to transcend the usual; simple story arcs are now a collection of scenes that convey a particular theme or message, which is enhanced by poetic language. __Cross-gender casting and Nontraditional casting__ Casting like this is used to further break from the realism. __Styles:__ __Expressionism__: exaggeration and distortion to represent the inner world __Epic Theater__: interruption of the action by things such as song to create emotional distance between characters and audience. Plays are episodic in structure. alienation effect: use of theatrical devices to remind audience that they are watching a play acting in quotes: a rejection of the method technique where actors do not embody their characters, but rather comment on them while acting gestural acting: mainly through physical gestures, not spoken lines. Ushered in and fostered by Bertolt Brecht. __Theatre of the Absurd__: based on absurd situations. Beckett, with //Play// and //Waiting for Godo//t, and Ionesco and Genet __Total Theatre__: Robert Wilson, as in his "opera" //Einstein on the Beach//, creates landscapes. All visual and audio elements are equally important in thes combination of music, acting, dancing, and special effects. Simultaneously it feels like there is nothing and much going on.
 * Theatricalism**
 * Characteristics of Theatricalism**