Pirandello Warm Up Questions

Opening clip (7 minutes in, Father and Producer argue over  art)

Act I
-Looking at the opening stage directions of 6 Characters, what seems “radical,” “new” or “absurd”?

Act II
-Why does stepdaughter keep laughing during the actor’s performance of her scene?
-Why are Father and Producer left on the outside of the curtain when it falls at the end of Act II?

For Beckett’s Endgame, see a youtube staging, like this.

Stanislavsky and Method Acting

Warm Up questions for class 5/30

Review the article “Direction and Acting” by Constantin Stanislavski posted on Canvas, looking for your answers to the following questions.

How can the actor find the “artistic seed” of a role, and how would you define the term “artistic seed” in your own words? (Stanislavsky 1148)

How should the actor relate to his audience? What role should his physical body play in the performance? (Stanislavsky 1149)

As an actor, how should I use imagination and memory to develop my performance? (Stanislavsky 1150)

What does Stanislavsky mean by the “score of the performance”? (1152)

Emperor Jones Supporting Materials

YouTubelink (Links to an external site.)Links to an external site.to Scenes 2-6, starring Paul Robeson, 1938.

Link to an overview of the Irish Reperatory Theater’s revival of Emperor Jones last year: Eugene O’Neill’s The Emperor Jones at Irish Repertory Theatre (Links to an external site.)Links to an external site.Eugene O’Neill’s The Emperor Jones at Irish Repertory Theatre

Link (Links to an external site.)Links to an external site.to Paul Robeson documentary (star of the 1938 Emperor Jones) Check out about 17 minutes in to hear his very articulate analysis of music history.

Clip (Links to an external site.)Links to an external site.of Charles Gilpin (original 1920 star of Emperor Jones) in a 1926 silent film.

Warm Up question: Pick a scene in Emperor Jones and describe what this scene shows you that is a.) “modern” in terms of dramatic form b.) revealing about Brutus Jones’ character.

Warm Up Question: Naturalism/Realism and Strindberg/Glaspell

Review Connections to The Emergence of Modern Drama 1850-1950

When looking at the Introduction alongside August Strindberg’s The Stronger and Susan Glaspell’s Trifles, what seems “modern” in these plays? Define modern drama, based on these 3 sources.
OR

What does Zola mean by this? “Inside a factory, the interior of a mine, the gingerbread market, a railway station….All the activities of modern life can take place…” (1186). Apply this statement to Trifles.

Welcome to EN 321 Modern Drama

This site contains all policies and assignments reflected on your syllabus (also posted on your Canvas site). In addition, it contains your weekly updated schedule and offers a place for you to post and discuss work with classmates.

The weekly course schedule is being updated based on live performances in the area during the course session–look for it in final form in the last week of April.