Lecture 2: The first Shakespearian Star Richard Burbage 1567-1619: The Darling of the Globe! Film presentation: Henry V
Module No:
P107 The Star Turn
Module Title:
Aspects of Performing Arts History
Credit Value:
10
Field:
Performing Arts
Level:
One
Type:
Field Option
Pre-requisite(s):
None
Notes:
Compulsory for Minor route
Modules recommended to be taken with this module:
P103
Module Tutor:
Michael Moor: 2001 2002
COURSE BEGINS: TUESDAY. 25TH SEPTEMBER
ROOM. C19
CLASS TIME: 11AM - 1PM
The content of P107 is primarily historical however it is not confined to the historical perspective. The course aims to develop the student's individual interest in a particular Star or his/her theatrical genre/body of work and or theatrical legacy. Dance, music and drama are reflected in this course. The Period covered by P107 is generally speaking The Renaissance to the early 20th Century. However a student's individual research need not be limited to this period. However it must begin with, be traceable to, or have its performance roots in this period.
This Course Aims: To provide an opportunity to study in
detail one aspect of performing arts history covered more generally in P103.
The Learning outcomes: The Star Turn 2001-2002 will provide the student with a critical understanding of a number of individual star's contribution to the performing arts as well as an elementary understanding of the 'meaning', 'purpose' and the possible wider cultural implications of 'stardom' and the star system.
Lecture Schedule P107
Introduction to the subject: Lecture 1
The Star Turn offers an unashamedly selective appraisal of
the 'great' performer, putting him or her in a historical, philosophical and
cultural context. The Star Turn also offers a critical investigation into the
influence, meaning and legacy of these often extra-ordinary individuals.
Let there be no mistake, I argue that 'great' individuals
do not make history; rather history is illustrated by them.
The influential German philosopher Hegel refers to such individuals as
'Heroic'. Individuals who by their courage, efforts, intuitive gifts,
intelligence, skill, charisma and single-mindedness found recognition in their
own time are often deserving of Hegel's conceptual name.
We in the theatre simply refer to these extra-ordinary individuals as
'stars'. The Star and the Heroic share a very similar conceptual basis for
academic analysis.
Week 1. September 28th 2001 Lecture 1
Perspectives and context:
What do we mean by a Star?
What purpose does the Star serve?
Can we define Star Quality?
Can we see the star as a cultural, racial, national,
stereotype or ideal?
Can we see the star as an object of desire or fantasy?
Can we see the star as an innovator, or style guru?
Is the star/ audience relationship essentially an unhealthy one?
Not all good actors or performers are stars and not all
stars are good actors or performers. What is the relationship between stardom
and performance?
To help us discuss these and other issues it may be useful to contrast and compare the position and development of the Cinema Star to that of the Theatre Star in terms of public perception of both from 1900-1915. This comparison may help to clarify a number of issues relating to the persona of the theatrical star, his or her capacity to draw an audience and influence the material of performance. It could be argued that the development of the Cinema Star is in contrast to and perhaps a reaction against the tradition of the Theatrical Star!
Reading for lecture 1
Gledhill(91)Stardom. Chapter 1 Seeing Stars and chapter 2
The emergence of the star system in America. Chapter 6 Charisma and chapter 13
Articulating Stardom.
Week 2:Lecture 2: The first Shakespearian
Star Richard Burbage 1567-1619: The Darling of the Globe! Film presentation:
Henry V
Week 3:Lecture 3: Ladies! The tradition of
the Diva: (GUEST LECTURE)
Week 4: Lecture 4: David Garrick: THE OVER NIGHT SENSATION film presentation
Richard III
Week 5:Lecture 5 Edwin Forrest and William
Charles Macready THE CONTRASTING AMERICAN AND ENGLISH PERSPECTIVE: Film
presentation Spartacus
Week 6:Lecture 6: The Continuing relevance of
Shakespeare.... an insight into why to-days stars still feel the need to test
themselves with the works of Shakespeare...(Mel Gibson in Hamlet for example).
This lecture has a strong practical element and texts will be used and
dramatized to suggest why a 'star' may wish to act a Shakespearian role and how
a star may benefit from that role. (GUEST LECTURE)
Week 7:Lecture 7:Stanislavski, Chekhov,
Naturalism and The Method. There will a strong practical element to this
lecture. Understanding is best served by a practical demonstration of the
implications and 'meaning' of perhaps the most influential drama practitioner
and Star of the last century. (GUEST LECTURE)
Week 8:Lecture 8 Bert Williams RACE AND
GENDER IN PERFORMANCE film presentation: Stormy Weather
Week 9:Lecture 9:Vaslav Nijinsky A CRIME
AGAINST GRACE: THE BODY IN PERFORMANCE film presentation: Diaghilev's Ballet
Russes Paris Dances
Assignment question:
COMPARE AND CONTRAST THE STAR OF YOUR CHOICE WITH AN
HISTORICAL COUNTERPART INDICATING THEIR COMBINED CONTRIBUTION TO PERFORMANCE OR
THE PERFORMING ARTS
Please read the assignment question carefully. The
lectures will be presented in such a way as to give you specific examples and
case studies that you may use as a model for your written assignment. You may
not use the exact examples given in a lecture. However you may use the given
historical example with a modern performer or star of your choice. These choices
will be negotiated and agreed with your tutor.
ONE 1500 WORD ESSAY = 100% ASSESSMENT
DATE DUE: MONDAY 3RD DECEMBER, ROOM A28 BEFORE 3PM
Tips for your essay
A strong emphasis is placed on individual research in P107.
You are directed towards a particular critical perspective or an applied
methodology in both your lectures and directed individual learning. You will
learn that value judgments can be made but that they are not likely to be
definitive ones nor are they essentially about what is 'good' or 'bad'. Rather
they are value judgments concerning, artistic or cultural validity, morality,
originality and innovation, technical contribution and or
philosophical/political perspectives and so on.
Through out the course you will have developed research and critical skills as well as an understanding of methodology. This will be demonstrated in the written assignment.
Presentation is important. Guidelines for presentation can
be found in your course handbook, please be aware marks are deducted for poor
grammar and spelling. You must also include a bibliography with your work or
marks will be deducted. (10%).
Assessment Criteria
Depth and range of Research=30%
A Logical progression of academically based ideas linked to
a particular perspective=50%
Presentation,
grammar and spelling=10%
Harvard System
Bibliography=10%
Reading List (suggested)
Aristotle: Poetics
Allen, J (1983) A History of the Theatre in Europe. Heinemann
Blair,F(86) IsadoraMacGaw-Hill.
Buckle,R Diaghilev
Buckle
R, Nijinsky
Dyer,R(82) Stars. BFI Publishing.
Gledhill,G(91)Stardom: Industry of Desire. Routledge
See articulating Stardom: chapter 13. Stars and Genre chapter 15, Signs
of melodrama chapter 16. Also consider chapters 20 and 21 as perspectives.
Gurr,A(1980) The Shakespearean Stage
1574-1642.Cambridge University Press.
Harbage,A(1941) Shakespeare's Audience. Columbia
University Press.
Kershaw B.(92)The Politics of Performance. Routledge
Nagler.A.M(1952A Source Book In Theatrical History
Dover Press. Contemporary documentation of theatre history. See pages 361-382 on David Garrick. Pages
545-549 on Edwin Forrest.
Also see W.B.Wood's diagnosis of the Star System of
the early American stage; pages 549-559, this has a good deal of
relevance if we consider the Star Vehicle in general. For example how often have
we seen a Star performer poorly cast?
Powel,J(84) Restoration Theatre Production
Powel,J(65) Restoration Theatre
Storey, J(1993) An Introductory Guide to Cultural Theory
and Popular Culture. Harvester Wheatsheaf
Styan,JL(1981) Modern Drama in Theory and Practice
Revels History of Drama in English
Wickham,G(1992A History of the Theatre Phaidon
Wickham,G(85)<I> A History of the Theatre
Phaidon
Please note that you should use journals and news papers in
addition to the books suggested. Especially for the more contemporary material.
lecture notes and links.
|
Lecture 2: The first Shakespearian Star Richard Burbage 1567-1619: The Darling of the Globe! Film presentation: Henry V |
|
Lecture 3: Ladies |
|
Lecture 4: David Garrick: film presentation Richard III |
|
Lecture 5 Edwin Forrest and William Charles Macready : Film presentation Spartacus |
|
Lecture 6 The Continuing relevance of Shakespeare .... an insight into why to-days stars still feel the need to test themselves with the works of Shakespeare...(Mel Gibson in Hamlet for example). This lecture has a strong practical element and texts will be used and dramatized to suggest why a 'star' may wish to act a Shakespearian role and how a star may benefit from that role. |
|
Lecture 7:Stanislavski, Chekhov, Naturalism and The Method. There will a strong practical element to this lecture. Understanding is best served by a practical demonstration of the implications and 'meaning' of perhaps the most influential drama practitioner and Star of the last century. |
|
Lecture 8 Bert Williams film presentation: Stormy Weather |
|
Lecture 9:Vaslav Nijinsky film presentation: Diaghilev's Ballet Russes Paris Dances |
|
Lecture 10. Student Presentations. |
Suggested Reading List updates! click here for the latest additions/alternatives to the book list below. Some of the books listed are reviewed.
Barba,
E(1991)Dictionary
of Theatre Anthropology Routledge
Brook,P(1968)The
Empty Space Pelican
Carlson,M(1996)
Performance Routledge
Dukore,B(1974) Dramatic Theory and Criticism Holt, Rinehart
A new and interesting biography which is especially strong on debunking Shakespeare the myth whilst at the same time revealing why he is so easy to mythologise.
*Adaptation: from Text to Screen. Cartmell
D./Whelehan, I. (1999)
Routledge
Contains a good essay on Shakespeare screen adaptations including the Hamlets.
Players of
Shakespeare Brockbank P. (Ed.)
(1985) CUP
A series of essays by RSC actors. It’s now quite old and several have gone on to become stars!
*The Year of
the King Sher A.
The classic account by Anthony Sher, of his rehearsal period for Richard III at the RSC. Interesting to compare with Looking for Richard.
Clamorous
Voices Rutter c./Evans, F. (Eds.)
(1988) The Women’s Press
Notable female actors talk about
playing Shakespeare – includes Juliet Stevenson.
*Looking For
Richard (Video) (1996)
20th Century Fox
Al Pachino documentary film on his
work on Richard III. As interesting
in terms of his fascination for Shakespeare as in terms of the quality of the
performances. If not more so...
Hamlets:
Zeffirelli (1990)/Olivier (1948)/Branagh (1996)
Lecture
7: Stanislavski
Stanislavski’s works:
*An Actor
Prepares Stanislavski, C.
(1980) Methuen
*Building a
Character Stanislavski, C.
(1979) Methuen
*Creating a
Role Stanislavski, C.
(1981) Methuen
The trilogy. The first two define the system and the third provides extra material and exemplification. All three are masterpieces and their influence cannot be overestimated. If you haven’t read them yet, do it now.
On the Art
of the Stage Stanislavski, C.
(1950) Faber
My Life in
Art Stanislavski,
C. (1948)
Routledge
Further important works expanding on
Stanislavski’s theories. My
Life in Art is
autobiographical as well as theoretical.
Overviews of Stanislavski’s Work:
Stanislavski
for Beginners Allen, D.
(1999) Writers and Readers
An entertaining and generally accurate
summary of Stanislavski’s life and art to give you an overview before you
immerse yourself in the real thing. Use
sensibly and do not quote in essays!
The Director
and the Stage Braun E.
(1991) Methuen
Contains a chapter which is a sound
description of Stanislavski work.
*Signs of
Performance Counsell C.
(1996) Routledge
Excellent application of semiotics to theatre in general and a number of practitioners in particular. Includes a chapter on Stanislavski.
Stanislavski’s Followers:
Acting: the
First Six Lessons Boleslavski, R
(1933) Theatre Arts Books
One of Stanislavski’s company living
in America provides a practical angle on the system.
On the
Technique of Acting Chekhov, M.
(1991) Harper Perennial
An idiosyncratic member of
Stanislavski’s company who went on to become a minor Hollywood star and a
major teacher of Hollywood actors. He
was Anton Chekhov’s nephew. He
sees acting as spiritual and inspirational, and it’s a book you’ll either
love or hate.
*A Dream of
Passion Strasberg L.
(1987) Penguin
American founder of the method.
The man who taught and/or influenced every major Hollywood star from
Marlon Brando onwards. A very important book, also a good read when he gets down to
practicalities. If you read one
book from this list, make it this one. See
also the Marlon Brandon videos below
Descriptions of Stanislavski’s work:
*Great
Directors at Work Richard Jones, D.
(1986) University of California Press
A good account of Stanislavski’s mise on scene for his seminal production of Chekhov’s The Seagull at the Moscow Arts Theatre. It also has an account of method actor Marlon Brando in the stage version of Streetcar. Compare Lee Strasberg (above) and the video of the same play (below).
Systems of
Rehearsal Mitter, S.
(1992) Routledge
A curious book which examines the work
of notable directors including Stanislavski.
They are assessed through the work of Peter Brook – that is, through
Brook’s practical interpretations of their methods. I personally didn’t get on with this book, but some people
find it revelatory. See what you
think!
Video Performances
Streetcar
Names Desire
*On the
Waterfront
Important performances by the “original” (and arguably still the best) actor who uses Strasberg’s method.