Name: リアリズムがさらにリアルになる：クラッシュコースシアター#32 (Realism Gets Even More Real: Crash Course Theater #32)
Uploaded: 2021-01-14T10:30:12.000Z
Duration: 12 min 25 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

Hey there, I'm Micro Greta, This is Crash Course Theater.

And did you think we'd finished with French realism?

Because remember that whole revolution in playwriting that we looked at last time?

Well, it kicked off revolutions in acting and stagecraft to we're gonna move between France and Germany.

Looking at a few of the most influential theater companies.

There will be chain mail And how birds and actual bleeding sides of beef today May Sammis also Ah, gruesome thought bubble bone appetite.

That's Ah, that's basically all the French I know.

Many European courts had a resident theater troupe, the Bitsy German Duchy of sacks.

Georg the second came to the throne or whatever you call the chair that a duke sits on and looked around at his resident company, the Mining or Huff Theater troupe, a k a.

And he was like, uh what if you were better?

You see, George had traveled around Germany and he'd seen a lot of players, including the traveling company headed by Charles Keene that had attempted some historically accurate Shakespeare plays guard decided that a group of actors rigorously rehearsed and meticulously outfitted with period appropriate props and costumes would create more realistic and exciting work.

That's how he got the nickname Theater Duke.

Yeah, I mean, yes, you could be a theater gentleman.

You're just gonna have to start acting like one anyway.

Theater do Georg fired the main director and asked the actor Ludwig Chronic toe head the troupe.

The Duke was also assisted by his third wife, Ellen Frantz, an actress who served as the troops literary manager and vocal coach.

Because the theater was fully patron supported box office was not a concern.

The troop could choose whatever plays they wanted.

Shakespeare, romantic tragedy, a few modern works.

They could rehearse them for months and perform them only a couple times a week.

The mining and troop also pioneered rehearsal techniques that are common now.

The actors used actual props and actual costumes almost from the beginning, and all of the director's decisions were written down in a prompt book so that the actors wouldn't deviate from the blocking once it was set.

You know, you can also thank the theater Duke for theatrical supply shops.

Georg and his assistants spent a ton of time researching the setting of each play.

They made sure that the actors wore historically accurate clothes and used historically accurate props.

When this caught on with other troops, shops sprang up to supply the theatres.

The Duke took costumes and props seriously, really seriously.

The actors wore actual armor and chain mail and carried actual swords and access.

Lionel, I, pal, I would prefer to remain in the dark concerning your providence.

Every detail of set and lighting was integrated into the hole of a play and the duke trying to replace schlocky stage paintings with realistic set design and really furniture.

At a time when most of the major theaters in Europe were beholden to a star system, the mining and troop explicitly worked without stars.

All of the actors in the troupe were expected to participate in every play, even as spear carriers, for example, if there wasn't a speaking part available.

And while most directors didn't bother to rehearse super numeraries, which is sort of like a fancy word for extras.

The Duke considered them crucially important.

Each body was placed on stage in a significant way.

The composer Richard Strauss, who got his start working for the Duke, was dazzled by the direction of the crowd scenes in which every move was plotted with the greatest care and the stylistic versatility tude off the staging May that wouldn't have mattered.

So much of the troop had just stuck around the Duchy.

But the Duke sent them out on tour, where they were a huge influence on Andre Antoine, who will meet in a minute, and Constantin Stanislavsky, the Moscow art theater guy who will show up in a couple episodes.

Allow me to introduce Andre Antoine, a mining, her fan boy who became one of the most influential theatre directors of the late 19th century.

Antoine began his career as a clerk at a gas company, but he loved the theater so much that he used to moonlight as part of the clack at the Comedie Francais.

Clacks were paid groups of Spectators who were hired by the theater management or by individual writers or actors to come to the show and applaud vigorously unless actors and writers were in a fight, in which case they might be hired to come to the show and boo vigorously.

Antoine was also heavily involved in an amateur troupe, and one day he came to them.

It was like guys, I think we should do Zola and they were like, May know so Antoine was like, Fine, I'm just gonna go ahead, found my own incredibly influential and daring theatre company, and I'm just gonna do whatever I want.

He rented a room in a pool hall and carted over most of his mom's furniture, opening the theater Libra in 18 97 in Paris.

It was subscription based, which meant he didn't need the approval of the sensor.

The group specialized in plays that other theaters couldn't or wouldn't get licensed.

Antoine favored an ultra realistic style.

He encouraged the actors to sometimes turn their backs on the audience.

He was cool with mumbling, and he worked to make their gestures look natural.

The actors he worked with were either too young and inexperienced or too old to be attractive to the major troops, but he did remarkable things with um.

What people really remember Antoine for, though, is the crazy realism.

Off his sets, Antoine wanted sets that looked and felt like places in real life.

He had designers create four walled sets and then decided which wall should be removed, and his sets went far beyond just the walls.

For the play the butcher's he hung dripping beef carcasses on the stage space and littered the ground with intestines for the play Old Heidelberg.

The set called for a dorm room, so he went out to an actual dorm room and bought it and put it on stage.

Some audience members were annoyed by the dark subject matter and the upstage facing actors.

But most of Antoine's plays were huge successes, but each of them ran for three nights at most, and beef carcasses don't come cheap.

So maybe this wasn't the all time greatest economic model.

The theater closed in 18 94 though Antoine would go on to lead the theater, Antoine and the OD on for a closer look at the kinds of plays that were upsetting and exciting audiences.

Let's take a look at one of Antoine's great successes, Leo Tolstoy's The Power of Darkness.

Antoine had been discouraged from doing the power of darkness.

Tolstoy had written the play in 18 86 based on an actual murder, but those are banned it immediately.

Antoine's production would be the world premiere, but as an influential critic told him, the play was way too much of a downer.

The play centers around an irresistible farmhand named Nikita.

First he impregnates a young orphan girl.

Then, instead of marrying her, he marries a Nisa who has murdered her rich husband in order to make herself available.

Nikita then seduces a nieces, Step Donner, who has his baby.

But Nikita murders and buries the baby so that he can get the step daughter married off On her wedding day, Nikita tries to hang himself and then confesses his sins.

The rest of the characters were played by clerks, salesman, an architect, a pharmacist, a dressmaker and a bookbinder.

Instead of adapting the play, Antoine commissioned a word for word translation and then hired a Russian speaker to make sure that the slang they were using was correct.

He borrowed costumes and props from the local Russian emigre community.

I never noticed an instant of relaxation or inattention during the whole four hours.

For the first time, a setting and costumes truly borrowed from the daily customs of Russian life appeared on the French stage without comic opera embellishments.

And without that pred election for tinsel and falsity that seems inherent in our theatrical atmosphere.

Thanks that bubble, accurate representation of Russian life.

Good job, Bookbinders Antoine wasn't the only guy gutsy enough to produce controversial stuff, though he probably was the only guy gutsy enough to cast dressmakers as actors do Fry, a Buddha in Berlin and the Independent Theatre Society in London were also subscription.

House is working to bring realistic drama to the people who need more plays about child murder and syphilis, I guess can't argue with the public.

The Fry Buna, or Free Stage, was founded in Berlin in 18 89 by a bunch of writers, including the writer director Auto Bram.

It performed mostly on Sunday afternoons when actors would be free from their other engagements.

It never managed to attract any set troop, but it gave censored plays.

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リアリズムがさらにリアルになる：クラッシュコースシアター#32 (Realism Gets Even More Real: Crash Course Theater #32)

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