If there’s one lesson you learned from me, personally, this Summer, it should be this: when it comes to the theatre, there are no experts and there is no “right answer”. This is true about to each of the Aristotelian elements (plot, character, theme, diction, music, spectacle) and it is true about each of the chapters we read in The Creative Spirit over the past 6 weeks.
Please take your time and write at least the equivalent of two, typed, double-spaced pages. This is entirely subjective but asks you to demonstrate, and reflect upon, an understanding of the concepts, theorists, methods and ideas with which we played for the last 5 weeks and about which you read in chapters 1, 2, 3, 4, 5, 6, 11 and 12.
Making reference to the content from those chapters, explore what you think the theatre today should look, sound, feel and smell like in order to “rebel or revolt against the status quo”. What should it do and how should it do it?
1. Utilize your own divergent thought to solve problems:
2. The theatrical problem production: how do I REPRESENT the dramaturgical world of a play on proscenium, thrust or area stage?
3. The critical problem of production: what does my play meant, thematically (what do I NOMINATE as my play’s central thematic message, what is the “nominative statement which describes the meaning of the play”) and how will I articulate this meaning to my audience?
4. The analytical problems of the literature: what’s the conflict? What is the tragic hero’s hamartia? …and…
5. The academic problem of this prompt: What does this weird teacher want me to write, what is he looking for?
watch this film
That last problem is important! Remember that problems (literary problems, character problems, narrative problems, critical problems, theatrical problems dramaturgical problems, academic problems…) require solutions. When you solve a problem – especially when you do so utilizing creative, artistic, DIVERGENT thought, bolstered by inferences drawn using shared history, methods, terminology, etc. (in other words, shared TOOLS), you are engaged in the act of creation. Let me say that again: Solving problems IS creation. Solving problems IS creativity. There are no experts, there are no RIGHT answers and there is no PROPER theatre. The chapter content, the literary devices and the vocabulary we studied IS NOT THE THEATRE and it DOES NOT IMPLY AN UNDERSTANDING OF THE THEATRE. They are only tools with which you can express your creativity.
You have until Sunday night at 11:59PM. I think that you could adequately respond to the final in as little as two double-spaced pages, but you may write as much as you need to in order to describe your vision. Were you in a LIVE class, this would be a blue book exam, which should give you an idea of length. I do expect a little more out of you than a live class because you have a lot more time. You may also (but are not required to) include images, video or any other media that will help you to communicate your ideas. (I’m a sucker for stuff to look at so make these easier for me to read by including some exemplifying media and you’re more likely to get a 100!) Remember to refer to the class content (terms, concepts, ideas, themes, symbols, motifs, artists, playwrights, methods, etc.) as you articulate your “Theatre for the 21st Century”. The final will be graded on content alone. So don’t worry about structure. Just clear convey your vision of the theatre.
This is an entirely subjective exam. I am asking for your opinion here. There are no wrong answers but there ARE both inspired and uninspired answers. Embrace the remix and I hope yours is the former. I will grade these pass/no pass 100/0 so don’t stress but please believe me that if you force me to read garbage, I’ll give you a ZERO!
Confused? Good. That’s the problem. Go find a solution. Go create. Write. Right?
