Tag Archives: drama/theater

Term of Art: Blank Verse

“In prosody, unrhymed verse. In English, the term usually means unrhymed iambic pentameter. In classical prosody, rhyme was not used at all; with the introduction of rhyme in the Middle Ages, blank verse disappeared. It was reintroduced in the 16th century and in England became the standard medium of dramatic poetry and frequently of epic poetry. Shakespeare’s plays, for example, are written mostly in blank verse.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Term of Art: Deus ex Machina

(Latin ‘god out of the machine’) In Greek drama a god was lowered out onto the stage by a mechane so that he could get the hero out of difficulties and untangle the plot. Euripides used it a good deal. Sophocles and Aeschylus avoided it. Bertolt Brecht parodied the abuse of the device at the end of his Threepenny Opera. Today this phrase is applied to any unanticipated intervener who resolves a difficult situation, in any literary genre.”

Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992

Rotten Reviews: Euripides

“A cliche anthologist…and maker of ragamuffin manikins.”

AristophanesThe Thesmophoriazusae, 411 B.C.

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Rotten Reviews: King Lear

This drama is chargeable with considerable imperfections,”

Joseph Warton, The Adventurer 1754

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998. 

George Bernard Shaw on Teaching

“To me the sole hope of human salvation lied in teaching.”

George Bernard Shaw (1856-1950)

Excerpted from: Howe, Randy, ed. The Quotable Teacher. Guilford, CT: The Lyons Press, 2003.

Rotten Reviews: The Cocktail Party, by T.S. Eliot

[Performed at the Edinburgh Festival, 1949]

“The week after–as well as the morning after–I take it to be nothing but a finely acted piece of flapdoodle.”

Alan Dent, News Chronicle

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Shingeki

Modern Japanese theater movement. A term meaning ‘new theater,’ shingeki is one of the many cultural developments of the Meiji period that reflect the complex interplay of tradition and modernization. Shinkgeki refers specifically to a modernist movement led by Kaoru Osanai (1881-1928). Reacting against the stale conventionalism of kabuki and the failed attempts to establish a modern kabuki style (the so-called shimpa movement), Osanai broke with the native theatrical tradition. Having spent years attempting to promote. Chekhov, Ibsen, Shaw, Pirandello and Strindberg, he finally succeeded in establishing Japan’s first modern theater, the Tzukiji Shogekijo, in 1924. Shingeki ultimately went beyond stagings of Western classics like A Doll’s House and The Cherry Orchard and promoted modern dramaturgy among Japanese playwrights as well. Shingeki-style modernism was much influenced by the advent of film.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Aphra Behn (1640-1689)

“English dramatist, novelist, and poet, the first Englishwoman known to earn her living by writing. Her early life is obscure (as is her original surname), but she spent most of it in South America. Her novel Oroonoko (1988), the story of an enslaved African prince who Behn knew in South America, influenced the development of the English novel. Her first play, The Forc’d Marriage, was produced in 1671; her later witty comedies, such as the two-part The Rover (1677, 1681), were highly successful, and toward the end of her life she wrote many popular novels.”

Excerpted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Martha Graham (1894-1991)

“U.S. dancer, teacher, choreographer, and foremost exponent of modern dance. Born in Pittsburgh, she trained from 1916 under Ted Shawn at the Denishawn school. She left in 1923 for New York, where she founded her own school in 1927 and a performing company in in 1929. She choreographed over 160 works, creating unique “dance plays” and using a variety of themes to express emotion and conflict. Many are based on American themes including Appalachian Spring (1944); other works include Primitive Mysteries (1931), El Penitente (1940), Letter to the World (1940), Cave of the Heart (1946), Clytemnestra (1958), Phaedra (1962), and Frescoes (1978). She collaborated for many years with Louis Horst, her musical director, and Isamu Noguchi, who designed many of her sets. She retired from dancing in 1970 but continued to teach and choreograph. Her technique became the first significant alternative to classical ballet, and her influence extended worldwide through her choreography and her students.”

Excerpted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Countee Cullen (1903-1946)

 “American poet, novelist, critic, and dramatist. Cullen was one of the leading poets of the Harlem Renaissance during the 1920s. Following the traditional verse forms based in part on the works of John Keats, Cullen is best remembered for his poems treating contemporary racial issues. His first volume of seventy-three poems, Color (1925), won the Harmon Award for high achievement in literature. Among his most notable poems in the volume are ‘The Shroud of Color,’ ‘Heritage,’ ‘Yet Do I Marvel,’ and ‘Incident.’ His other published collections include The Ballad of the Brown Girl (1927), Copper Sun (1927), The Black Christ and Other Poems (1929) and The Medea and Some Poems (1935). He also edited Carolina Dusk: An Anthology of Verse by Negro Poets (1929). His only novel, One Way to Heaven (1932), was praised for its accurate portrayal of Harlem life. The Lost Zoo (1940) and My Lives and How I Lost Them (1942) are children’s books. Two important works published after his death were On These I Stand: An Anthology of the Best Poems of Countee Cullen (1947), and My Soul’s High Song: The Collected Writings of Countee Cullen, Voice of the Harlem Renaissance (1991). 

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.