Last Wednesday we went on an excursion up to MTC to see ‘Realism.’ I really enjoyed the play, and before we went we were given a sheet that would aid us with writing up a review. This is my sheet:
Performance Review Checklist- Realism· Brief synopsis – what is the message of the performance. What themes are explored?
Set in the Soviet Union, 1939, Stalin and the way in which he rules his country. The limitations on art, the censorship and how this affects the artists. Through limiting artistic freedom, communism is severely affecting these actors and writers in that they must be extremely careful not to go against any ideological viewpoint that Stalin holds, or suggest any revolutionary ideas. This means that all actors and writers must be very careful about what they say, as in the purges of years before, many were taken and killed.
It takes place in a rehearsal space, where a play that is being written for Stalin’s 60th birthday is beginning rehearsals. Glemov, a well known goalie of a football team has been put into Stalin’s role and he arrives (too early) for his rehearsals. The other characters come in, slowly, and we are acquainted with their personalities and they are all slowly characterised. Through their stories, and their experience in acting, we find that they all have impressive egos, and perhaps long for the old days when theatre was more proud. Their director, is extremely late, and as the play progresses and we learn more and more about the back stories and stresses that each character is put under, we are confronted with the idea that perhaps he has been taken as Meyerhold had been. This puts them all into panic and fear, what if they are next?
The stark change in set and characters then illustrates Meyerhold’s techniques, showing different plays and methods but overall showing the amazing ability that was required to perform Meyerhold’s bio-mechanical acting style. The movements of the body, the music that contribute to the atmosphere all helps this change be all the more confusing and shocking. Their hatred of Stalin and how he has killed all artistic freedom and creativity is expressed in this section, when they hang Glemov. The director then enters, and we find that they all panicked for nothing, however we have learnt much about the theatrical situation that was happening at this time.
· Style of script – narrative, disjointed time sequences, direct address to audience, fourth wall, dream sequences, clowning, dance, song etc
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Bio-mechanics
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Demonstration that we are given really stops the play
o The disjointed time sequence he Meyerhold bio-mechanics scenes take place
o Often direct addresses to the audience- such as the star jumping writer when one character was complaining about how it is not fair for one actor to be saying something extremely important while someone is doing something completely unrelated and very distracting on the other side of the stage!
§ They talk as in there is no audience there.
A play within a play-The Tragedy of Meyerhold,
· Stage setting – site specific? Proscenium arch? Thrust? Traverse? Did it allow the action to flow or did you feel it impeded the actors and message
o Proscenium arch stage, with a complete stage change during the second half. This change involved the whole are being presented, as it was realism we weren’t tricked into believing that there wasn’t a back stage area.
o Really effective for the purpose of the play, showed how they were being boxed in by Stalin.
· Extended fourth wall to include the back of the auditorium
· Style of theatre and associated theatre conventions that are accepted as part of the style – are they appropriate for conveying the message
o Bio –mechanic showed the allusions to Meyerhold
o The realism in the other parts of the play allowed the distinctions between the two to really come across.
· Deviations in style – mix of styles – Is there evidence of a strong vision by the director
o The mixes between Meyerholdism and realism (Stanislavski) were tied in directly to the plot and made the audience actually see the differences between the two styles
· What are the semiotics of the piece – the signs and symbols and their relationship to each other and the spoken text – are there reoccurring symbols and motifs
o The re occurring symbol is slogans and Stalin, the importance of these in their society
o The colour of red, symbolic of the Communist country.
· Use of Symbolism. How much information is imparted by text and how much non verbally
o (sound effects, music, body language &gesture)
o Bio mechanics certainly to do largely with the movements, but also the things that are said which emphasise this
o The plot was largely imparted by text, however characterisation was more reliant on the actor’s movements, their body language towards each other, their gestures and their little habits that were distinct to them.
o Their costumes were largely symbolic of their characters.
· How do the creative choices support or detract from the style – set, costume, lighting design, props – What symbols and themes are incorporated, explored, expanded. Were any particular colours used in the set, costume.
o Talking about whether the creative decisions- set, costume etc. Do these support the symbolism or the message f the play, or do they detract?
§ The colour read as a symbol supported the ideological viewpoints of Stalin.
§ The set, and how it was all fake contrasted nicely to the different styles of realism and Meyerholdism. Showed the audience that yes, they were watching a play- the bricks weren’t real, this was made noticeable through the text.
§ Lighting was fairly neutral, almost in a Brechtian style, changed starkly during the set change though, the lights made it seem very powerful and important.
§ Set was fairly simplistic, a lot more focus onto the characters, set played a larger part in the change though.
§ Realistic in the use of real water in glasses on the stage- support the title!
· Music – how was it incorporated – to create atmosphere, (manipulate the audience’s emotions) comment on the action
o The change was heavily reliant on music, it seemed that the segments with bio mechanics were heavily reliant upon the music, it made it seem much more powerful and reinforced the messages that were being sung about or spoken about. Created the atmosphere, made it tense and uneasy, a build up to the capture of Meyerhold and the murder of his wife.
· Actor audience relationship – direct address? Fourth wall?
o Some direct address – audience always aware that they were watching a play. The fourth wall was there, however it was as though they had a theatre in front of them, but with no seats filled.
· The characters – what is expected of them in the plot and in terms of language.
§ Eg. Heightened language, complicated rhythms, song, dense text.
o Are the characters realistic ones or are they given a ridiculous script where nothing of it makes sense (absurdist theatre) what do the actors have to do to honour the script
§ The language changed! Macbeth segment was heightened language, as was the other Meyerhold sections- as they expressed complex ideas and important messages in the play.
§ The other areas of the play were more or less very dialogue based but held important pauses and silences 2
· Where is the conflict is it between characters or does the situation create conflict(creates the drama) eg is it character driven or action driven
o The play is both character and action driven.
o There is conlifct between characters such as the stage manager and others. Glemov finds his situation very difficult, for he is an outsider. The older man has conflict with the young woman (she is stealing focus) as well as several other character just because they don’t understand how theatre used to be.
o A large amount of conflict and drama comes from the situation that the characters are in. Their repression means that they are all highly- strung, emotional about missing friends/family.
· How do the characters change (their throughline) as the play progresses what is their personal journey and how does it relate to the message of the play?
o As the characters become more and more concerned with the whereabouts of their director, their through line progressively changes throughout the play- certain characters showing the ways in which they have been affected by the purges or authoritarian government.
o The ways in which we find that many characters have been directly affected by the government adds to the message of how repressive this style of government can be. The character such as the writer shows us how it affects him, his relationship with his wife, his job and his peace of mind.
· What expressive skills do the actors use to create character and impart the circumstances?
o We are shown through their body language about how they have been affected. Their movements are often cautious. Perhaps when we see the change in the Meyerholdism small play within the pay, we see how they can move, but how they have been restricted by the ruler.
o Their tone of voice also shows this, the wirter for example expressing just how stressed he is through the way in which he walks quickly around the room, using slashing laban movements, and his voice rising to illustrate his stress and worry .
o We can see how glemov is more relaxed, perhaps because he does not understand the circumstances- that theatre is dangerous.
· What other shows have you seen that have used similar conventions (albeit completely different.)
o Prosc arch used in wicked and realism
o Non naturalistic set, such as seen in poor boy
§ The walls of the factory and the set is completely destructed as soon as glemov picks up the machine and moves the ‘brick’ wall later on.
§ Poor boy uses conventions in that there are no walls, and doors are established and then walls are suddenly walked through.
The play used costumes to impart information about the characters, such as the extravagant outfit of Nadia and the sharp suit of the older man. This is also used in Tartuffe, Wicked, Poor boy.. in fact every play that i have seen usually aims for this, (as i am aiming for in my IP.)
Julia's IB Theatre Journal 