Theory 1: Introduction to the theory of the theater stage - kick off as a video

Theatre, also spelled theater, in dramatic arts, an art concerned almost exclusively with live performances in which the action is precisely planned to create a coherent and significant sense of drama.

the word theatre is derived from the Greek theaomai, “to see,” the performance itself may appeal either to the ear or to the eye, as is suggested by the interchangeability of the terms spectator (which derives from words meaning “to view”) and audience (which derives from words meaning “to hear”).

Different kinds of theater Stage:

- Proscenium arch

- Thrust

- Traverse

- In the round

Exercise 1: A stage set to get to know

Ophelias Zimmer / Created by Katie Mitchell, Alice Birch and Chloe Lamford

Schaubühne Berlin + Royal Court Theatre

December 2015

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Direction: Katie Mitchell

Text: Alice Birch

Lighting: Fabiana Piccioli

Theory 2: Excursus: The paper theater and the Neuruppiner picture sheet

Toy theater, also called paper theater and model theater, is a form of miniature theater dating back to the early 19th century in Europe. Toy theaters were often printed on paperboard sheets and sold as kits at the concession stand of an opera house, playhouse, or vaudeville theater. Toy theaters were assembled at home and performed for family members and guests, sometimes with live musical accompaniment.

Exercise 2: text analysis

Characters :

Herr Biedermann : Kind of an angry confused man with a heart.

Babette : Herr Biedermann’s Wife , she’s sick physically and she has anxiety.

Anna : a housemaid, she seems knows whats going on.

Schmitz : one of the Brandstifter, a simple dude if you see him from the outside, but he is pretty smart in manipulating people.

Eisenring : another Brandstifter, an ex waiter at metropol, he is also smart. Eisenring and Scmitz is a perfect team.

Ein Polizist : A policeman.

Der Chor : this is the voice inside Herr Biedermann’s head.

SZENE (Orte) : Stube, Dachboden, House Enterance.

KEY SCENE : Die Bühne ist finster, dann leuchtet sein Streichholz auf: man sieht das Gesicht von Herrn Biedermann, der sich eine Zigarre anzündet und jetzt, da es heller wird, sich seinerseits umsieht.

„NICHT EINMAL EINE ZIGARRE KANN MAN HEUZUTAGE ANZUENDEN, OHNE AN FEUERBRUNST ZU DENKEN! DAS IST JA WIEDERLICH!

SCENE 1

SCENE 3

Theory 3: The beginning of modernity in the theater

The one who started it all was Karl Friedrich Schinkel, a German Architect that had visual on Theater, his Goal was to create less illusion in the Theater Stages, and create more realistic atmosphere.Itt was the begging of the modern Theater we see Today. There are also other people who have big influence in modern theater such as Adolphe Appia, Francis Bruguière, Wieland Wagner, Giacomo Balla and Oskar Schlemmer.

Exercise 3: Moodboards

For the Moodboards I decided to go into sci-fi directions which influenced me since I was a kid, with this decision I would like to show the audience that the story of Biedermann could happen anytime not only in the past but also in the future, what I believe is that History does repeat itself.

Interior

2001: A Space Odysse, 1968

Stimmung

Chromosaturation - Carlos Cruz-Diez , 1999

Theory 4: The Russian avant-garde in the theater

Russian avant-garde is a term describing a remarkable influential wave of modern art that flourished in Russia in the early 20th century. Artists achieved breakthroughs in painting, sculpture, theater, film, photography, literature, decorative arts, architecture, and book design.

These are some of the example of the Russian avant-garde revolutionary in theater:

1.Iwan Bilibin, Stage design for Le Miracle de Théophile, Moskau 1909.

2.Staging by Artist collective and others with Kasimir Malewitsch, Victory over the Sun, 1913.

3.Stage model. Ljubow Popowa on „The Magnanimous Cuckold“ from 1922.

4.El Lissitzky for the Meyerhold Theater, Model and floor plan, Moscow 1928.

Theory 5: The stage since the 50s

After World War II, Germany was left with hundreds of bombed-out theatres and opera houses, more than 100 of them had been restored to their former state or else had been redesigned and rebuilt along contemporary lines.The impact of the world war ll influenced theater to go further and find a new way to express them self also it helped theater to find new places to explore.

These some of the examples of how theater and opera has been developed for years after the world war ll :

1.Luigi Nono (1924-1990) ”Prometeo, Tragedia dell`ascolto“ Venice, San Lorenzo 1983

2.Bert Neumann „Berlin Alexanderplatz“ from Alfred Döblin, Playhouse Schiffbau Zürich 2001

3.Ulrich Rasche (production and stage) „The Persians“ by Aeschylus, Durs Grünbein, Schauspielhaus Frankfurt, co-production with the Salzburg Festival 2018

Before final Presenation (Visualisation from the Moodboards)

Final presentation